{"id":54984,"date":"2015-05-29T06:05:44","date_gmt":"2015-05-29T06:05:44","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=54984"},"modified":"2021-02-11T09:50:36","modified_gmt":"2021-02-11T08:50:36","slug":"cinemascope-y-teatro-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/cinemascope-y-teatro-jorge-gorostiza\/","title":{"rendered":"Cinemascope y teatro | Jorge GorostizaCinemascope e teatro | Jorge GorostizaCinemascope and theatre | Jorge Gorostiza"},"content":{"rendered":"

\"\"<\/a>
El Festspielhaus de Salzburgo en 1960<\/span><\/figcaption><\/figure><\/p>\n

Acabo de leer un texto escrito por\u00a0Gerard Mortier<\/a>, titulado \u00abEscenograf\u00eda y \u00f3pera: historia de una emoci\u00f3n\u00bb<\/strong><\/em>, en el que menciona una nueva e interesante\u00a0relaci\u00f3n entre arquitectura y cine,\u00a0cuando escribe\u00a0sobre el\u00a0Festspielhaus, de Salzburgo que, seg\u00fan \u00e9l,<\/p>\n

\n

\u00abse corresponde con la est\u00e9tica del cinemascope. Fue construido en 1958 precisamente cuando comienza el cinemascope en el cine. Pero el cinemascope no funciona en el teatro. Cuando se est\u00e1 en las primeras filas del Festspielhaus hay que mover la cabeza de un lado a otro, como en un partido de tenis, pero en el teatro ha de ser posible ver el escenario en su totalidad\u00bb.<\/em><\/p>\n<\/blockquote>\n

Aunque Mortier se equivoca en cuanto al a\u00f1o de comienzo del CinemaScope<\/a> –La t\u00fanica sagrada<\/a><\/em>, primera pel\u00edcula en ese sistema se estren\u00f3 en 1952-, si es verdad que a finales de los a\u00f1os cincuenta estaba en pleno auge, por lo que la comparaci\u00f3n es muy oportuna.\u00a0La televisi\u00f3n,\u00a0contra\u00a0la que aparecieron las grandes pantallas en los cines,\u00a0influy\u00f3 en la arquitectura de un teatro mundialmente reconocido y\u00a0adem\u00e1s esta influencia fue negativa desde el punto de vista del espect\u00e1culo teatral.<\/p>\n

En ese mismo texto Mortier habla sobre un\u00a0\u00e1rbol de Amarcord<\/a><\/em>, el apartamento de Amor<\/a><\/em> y adem\u00e1s\u00a0critica\u00a0negativamente el edificio del Palacio de las Artes Reina Sof\u00eda en Valencia de Santiago Calatrava (supongo que no conoc\u00eda el auditorio<\/a> de Tenerife),\u00a0pero esto quiz\u00e1s lo comente en otra ocasi\u00f3n.<\/p>\n

Lo que no quiero pasar por alto es recomendar el libro donde se ha publicado, se titula: In audatia veritas: Reflexiones sobre la \u00f3pera, el arte y la pol\u00edtica<\/a><\/em>, est\u00e1 publicado por Confluencias<\/a>, y aunque no lo he acabado todav\u00eda, ya he podido disfrutar de un gran art\u00edculo sobre la unidad europea.<\/p>\n

Jorge Gorostiza, arquitecto.
\nAutor del blog Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife, abril 2015<\/p>\n

\"\"<\/a>
The Festspielhaus in Salzburgo at 1960<\/span><\/figcaption><\/figure><\/p>\n

I have just read a text written by\u00a0Gerard Mortier<\/a>, graduate \u00ab<\/strong>Scenery and opera: history of an emotion<\/strong><\/em>\u00bb<\/strong><\/em>, in that a new and interesting relation mentions between architecture and cinema, when he writes on the Festspielhaus, of Salzburg that, according to him,<\/p>\n

\n

\u00abIt corresponds with the aesthetics of the cinemascope. It was constructed in 1958 precisely when it begins the cinemascope in the cinema. But the cinemascope does not work in the theatre. When one is in the first rows of the Festspielhaus it is necessary to move the head across, like in a tennis match, but in the theatre it has to be possible to see the scene in its entirety\u00bb.<\/em><\/p>\n<\/blockquote>\n

Though Mortier is wrong as for the year of beginning of the\u00a0CinemaScope<\/a> – The sacred tunic<\/a><\/em>, the first movie in this system had the premiere in 1952-, if it is true that at the end of the fifties was in full summit, for what the comparison is very opportune. The television, against which the big screens appeared in the cinemas, influenced the architecture of a theatre throughout the world recognized and in addition this influence was negative from the point of view of the theatrical spectacle.<\/p>\n

In the same text Mortier he speaks on Amarcord<\/a><\/em>‘s tree, the apartment of\u00a0Love<\/a><\/em> and in addition it criticizes negatively the building of the\u00a0Palacio de las Artes Reina Sof\u00eda in Valencia of\u00a0Santiago Calatrava (I suppose that it did not know the\u00a0audience<\/a> of Tenerife), but this probably comments on it in another occasion.<\/p>\n

What I do not want to overlook is to recommend the book where it has published, is entitled: In audatia veritas<\/em>: Think about the opera, the art and the politics<\/em><\/a>, it is published by Confluences<\/a>, and though I have not ended it still, already I could have enjoyed a great article about the European unit.<\/p>\n

Jorge Gorostiza, architect.<\/p>\n

Author of the blog Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

Santa Cruz de Tenerife, april 2015

\"\"<\/a>
O Festspielhaus de Salzburgo en 1960<\/span><\/figcaption><\/figure><\/p>\n

Acabo de ler un texto escrito por\u00a0Gerard Mortier<\/a>, titulado \u00abEscenograf\u00eda e \u00f3pera: historia dunha emoci\u00f3n\u00bb<\/em><\/strong>, no que menciona unha nova e interesante relaci\u00f3n entre arquitectura e cine, cando escribe sobre o Festspielhaus, de Salsburgo que, segundo el,<\/p>\n

\n

\u00abcorresp\u00f3ndese coa est\u00e9tica do cinemascope. Foi constru\u00eddo en 1958 precisamente cando comeza o cinemascope no cine. Pero o cinemascope non funciona no teatro. Cando se est\u00e1 nas primeiras filas do Festspielhaus hai que mover a cabeza dun lado a outro, como nun partido de tenis, pero no teatro ha de ser posible ver o escenario na s\u00faa totalidade\u00bb.<\/em><\/p>\n<\/blockquote>\n

A\u00ednda que Mortier se equivoca en canto ao ano de comezo do\u00a0CinemaScope<\/a> –A t\u00fanica sagrada<\/a><\/em>, primeira pel\u00edcula nese sistema estreouse en 1952-, se \u00e9 verdade que a finais dos anos cincuenta estaba en pleno auxe, polo que a comparaci\u00f3n \u00e9 moi oportuna. A televisi\u00f3n, contra a que apareceron as grandes pantallas nos cines, influ\u00edu na arquitectura dun teatro mundialmente reco\u00f1ecido e ademais esta influencia foi negativa dende o punto de vista do espect\u00e1culo teatral.<\/p>\n

Nese mesmo texto Mortier fala sobre unha \u00e1rbore de\u00a0Amarcord<\/a><\/em>, o apartamento de\u00a0Amor<\/a><\/em> e ademais critica negativamente o edificio do\u00a0Palacio de las Artes Reina Sof\u00eda en Valencia de\u00a0Santiago Calatrava (supo\u00f1o que non co\u00f1ec\u00eda o\u00a0auditorio<\/a> de Tenerife), pero isto quizais o comente noutra ocasi\u00f3n.<\/p>\n

O que non quero pasar por alto \u00e9 recomendar o libro onde se publicou, tit\u00falase: In audatia veritas:<\/em> Reflexi\u00f3ns sobre a \u00f3pera, a arte e a pol\u00edtica<\/em><\/a>, est\u00e1 publicado por Confluencias<\/a>, e a\u00ednda que non o rematei a\u00ednda, xa puiden gozar dun grande artigo sobre a unidade europea.<\/p>\n

Jorge Gorostiza, arquitecto.<\/p>\n

Autor do blogue Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

Santa Cruz de Tenerife, abril 2015<\/p>\n","protected":false},"excerpt":{"rendered":"

Acabo de leer un texto escrito por\u00a0Gerard Mortier, titulado \u00abEscenograf\u00eda y \u00f3pera: historia de una emoci\u00f3n\u00bb, en el que menciona una nueva e interesante\u00a0relaci\u00f3n entre arquitectura y cine,\u00a0cuando escribe\u00a0sobre el\u00a0Festspielhaus, de Salzburgo que, seg\u00fan \u00e9l, \u00abse corresponde con la est\u00e9tica del cinemascope. Fue construido en 1958 precisamente cuando comienza el cinemascope en el cine. Pero […]<\/p>\n","protected":false},"author":34,"featured_media":54985,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,1460,5951],"tags":[12449,12471,2154,502,11892,11891,668,1593,7025,1120,3449,1269],"class_list":["post-54984","post","type-post","status-publish","format-standard","has-post-thumbnail","category-capturas","category-cine","category-slider-principal","tag-arte","tag-cine","tag-escenografia","tag-escenografo","tag-festspielhaus","tag-gerard-mortier","tag-historia","tag-jorge-gorostiza","tag-opera","tag-publicacion","tag-santiago-calatrava","tag-teatro"],"yoast_head":"\nCinemascope y teatro | Jorge Gorostiza<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Cinemascope y teatro | Jorge GorostizaCinemascope e teatro | Jorge GorostizaCinemascope and theatre | Jorge Gorostiza\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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