{"id":66007,"date":"2017-12-08T00:04:42","date_gmt":"2017-12-07T23:04:42","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=66007"},"modified":"2021-01-13T17:48:13","modified_gmt":"2021-01-13T16:48:13","slug":"la-primera-directora-artistica-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-primera-directora-artistica-jorge-gorostiza\/","title":{"rendered":"[:es]La primera directora art\u00edstica | Jorge Gorostiza[:gl]A primeira directora art\u00edstica | Jorge Gorostiza[:en]The first women art director | Jorge Gorostiza[:]"},"content":{"rendered":"

[:es]

\"Furia
Furia espa\u00f1ola (Francisco Betri\u00fa, 1975) por la que Elisa Ruiz recibi\u00f3 el premio del C\u00edrculo de Escritores Cinematogr\u00e1ficos a la mejor decoraci\u00f3n.<\/span><\/figcaption><\/figure><\/p>\n

La investigadora mexicana Elisa Lozano<\/a>, a la que ya mencion\u00e9<\/a> a ra\u00edz de la publicaci\u00f3n<\/a> de su fundamental\u00a0libro<\/a>\u00a0sobre\u00a0Manuel Fontanals<\/a>, me ha dicho hace poco que est\u00e1 finalizando su trabajo sobre\u00a0Lucero Isaac<\/a>, la primera directora art\u00edstica cinematogr\u00e1fica mexicana.<\/p>\n

Lo cierto es que en el \u00e1mbito de la escenograf\u00eda para el cine ha ocurrido lo mismo que en otras especialidades, en las que las mujeres tuvieron muchas dificultades para trabajar, casi siempre por culpa de la propia sociedad, ya que los profesionales del cine, como los del teatro, siempre han estado m\u00e1s abiertos a los cambios. Estos problemas provocaron que cuando se piensa en las mujeres escen\u00f3grafas, se recuerde a la antes mencionada, a\u00a0Carmen Dillon<\/a>\u00a0y a muy pocas m\u00e1s.<\/p>\n

En Espa\u00f1a las mujeres, como en otros pa\u00edses, se ocuparon antes del dise\u00f1o de vestuario que de los decorados, cronol\u00f3gicamente una de las primeras -si no la primera- que aparece en unos t\u00edtulos de cr\u00e9dito es Elisa Ruiz Fern\u00e1ndez, firmando como ambientadora en\u00a0Cruzada en la mar<\/a><\/i>, dirigida por Isidoro M. Ferry en 1968 y el a\u00f1o siguiente como los decorados de la coproducci\u00f3n italo espa\u00f1ola\u00a0Los diablos de la guerra<\/a><\/i>\u00a0dirigida por Bitto Albertini en 1969.<\/p>\n

Elisa naci\u00f3 en San Fernando (C\u00e1diz) el 4 de octubre de 1939, estudi\u00f3 en la Escuela Superior de Bellas Artes de esa localidad donde se gradu\u00f3 en 1962; comenz\u00f3 a trabajar en el cine a principios de los a\u00f1os sesenta como ayudante de decoraci\u00f3n de Jos\u00e9 Antonio de la Guerra, siendo despu\u00e9s ayudante de Gago, Surribas, Galicia y P\u00e9rez Cubero; compaginando su trabajo con el teatro trabaj\u00f3 con el gran\u00a0Francisco Nieva<\/a>, que la menciona en sus memorias\u00a0Las cosas como fueron<\/a>,<\/i>\u00a0realizando\u00a0la escenograf\u00eda y el vestuario de obras teatrales, zarzuelas, \u00f3peras y ballets,\u00a0adem\u00e1s expuso su obra pl\u00e1stica en varias ocasiones, hizo ilustraciones para libros, murales, y tambi\u00e9n imparti\u00f3 conferencias sobre su trabajo; falleci\u00f3 joven a los cincuenta y cinco a\u00f1os, en Madrid, tras una larga enfermedad, el 21 de mayo de 1995. Tuve la suerte de asistir a una de sus conferencias, la estupenda que imparti\u00f3 en la UIMP analizando el vestuario de las pel\u00edculas sobre Col\u00f3n.<\/p>\n

No voy a copiar la filmograf\u00eda de Elisa, que se puede consultar en el libro\u00a0Directores art\u00edsticos del cine espa\u00f1ol<\/a><\/i>, pero s\u00ed hay que destacar que trabaj\u00f3 en cinco pel\u00edculas como figurinista, en catorce como ayudante de decoraci\u00f3n y en diecisiete como directora art\u00edstica, y en este \u00faltimo cometido, con directores como Betri\u00fa, Borau y Saura, en pel\u00edculas que ya han pasado a la Historia del Cine Espa\u00f1ol.<\/p>\n

Tampoco quiero olvidar a otras escen\u00f3grafas cinematogr\u00e1ficas espa\u00f1olas que tambi\u00e9n comenzaron a trabajar en los a\u00f1os sesenta y setenta, como Mar\u00eda Eugenia Sagard\u00eda,\u00a0N\u00faria Pompeia<\/a>, Elena Guasch, Cristina L\u00f3pez, Mireia Riera, Teresa Pecan\u00edn y Neus Ciurana.<\/p>\n

En Espa\u00f1a siempre se le ha dado muy poca importancia al fundamental trabajo de los directores art\u00edsticos y mucho menos al de las mujeres que trabajaron es esa especialidad, quiz\u00e1s ya va siendo hora que se les haga justicia.<\/p>\n

Jorge Gorostiza, Doctor arquitecto.
\nSanta Cruz de Tenerife,\u00a0septiembre 2017
\nAutor del blog Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

[:gl]

\"Furia
Furia espa\u00f1ola (Francisco Betri\u00fa, 1975) pola que Elisa Ruiz recibiu\u00a0o\u00a0premio do C\u00edrculo de Escritores Cinematogr\u00e1ficos\u00a0a mellor decoraci\u00f3n.<\/span><\/figcaption><\/figure><\/p>\n

A investigadora mexicana Elisa Lozano<\/a>, \u00e1 que xa mencionei<\/a>\u00a0por mor da publicaci\u00f3n<\/a> do seu fundamental libro<\/a> sobre Manuel Fontanals<\/a>,\u00a0 d\u00edxome hai pouco que est\u00e1 a finalizar o seu traballo sobre Lucero Isaac<\/a> a primeira directora art\u00edstica cinematogr\u00e1fica mexicana.<\/p>\n

O certo \u00e9 que no \u00e1mbito da escenograf\u00eda para o cinema ocorreu o mesmo que noutras especialidades, nas que as mulleres tiveron moitas dificultades para traballar, case sempre por culpa da propia sociedade, xa que os profesionais do cinema, como os do teatro, sempre estiveron m\u00e1is abertos aos cambios. Estes problemas provocaron que cando se pensa nas mulleres escen\u00f3grafas, l\u00e9mbrese \u00e1 antes mencionada, a Carmen Dillon<\/a> e a moi poucas m\u00e1is.<\/p>\n

En Espa\u00f1a as mulleres, como noutros pa\u00edses, ocup\u00e1ronse antes do dese\u00f1o de vestiario que dos decorados, cronoloxicamente una das primeiras -se non a primeira- que aparece nuns t\u00edtulos de cr\u00e9dito \u00e9 Elisa Ruiz Fern\u00e1ndez, asinando como ambientadora en Cruzada na mar<\/a><\/i>,, dirixida por Isidoro M. Ferry en 1968 e o ano seguinte como os decorados da coproduci\u00f3n italo espa\u00f1ola Os dia\u00f1os da guerra<\/a><\/i> dirixida por Bitto Albertini en 1969.<\/p>\n

Elisa naceu en San Fernando (C\u00e1diz) o 4 de outubro de 1939, estudou na Escola Superior de Belas Artes desa localidade onde se gradu\u00f3 en 1962; comezou a traballar no cinema a principios dos anos sesenta como axudante de decoraci\u00f3n de Jos\u00e9 Antonio da Guerra, sendo despois axudante de Gago, Surribas, Galicia e P\u00e9rez Cubero; compaxinando o seu traballo co teatro traballou co gran Francisco Nieva<\/a>, que a menciona nas s\u00faas memorias As cousas como foron<\/a>,<\/i>\u00a0realizando a escenograf\u00eda e o vestiario de obras teatrais, zarzuelas, \u00f3peras e ballets, ademais expuxo a s\u00faa obra pl\u00e1stica en varias ocasi\u00f3ns, fixo ilustraci\u00f3ns para libros, murais, e tam\u00e9n impartiu conferencias sobre o seu traballo; faleceu mozo aos cincuenta e cinco anos, en Madrid, tras unha longa enfermidade, o 21 de maio de 1995. Tiven a sorte de asistir a unha das s\u00faas conferencias, a estupenda que impartiu na UIMP analizando o vestiario das pel\u00edculas sobre Col\u00f3n.<\/p>\n

Non vou copiar a filmograf\u00eda de Elisa, que se pode consultar no libroDirectores art\u00edsticos do cine espa\u00f1ol<\/a><\/i>, pero si hai que destacar que traballou en cinco pel\u00edculas como figurinista, en catorce como axudante de decoraci\u00f3n e en dezasete como directora art\u00edstica, e neste \u00faltimo labor, con directores como Betri\u00fa, Borau e Saura, en pel\u00edculas que xa pasaron \u00e1 Historia do Cinema Espa\u00f1ol.<\/p>\n

Tampouco quero esquecer a outras escen\u00f3grafas cinematogr\u00e1ficas espa\u00f1olas que tam\u00e9n comezaron a traballar nos anos sesenta e setenta, como Mar\u00eda Eugenia Sagard\u00eda, N\u00faria Pompeia<\/a>, Elena Guasch, Cristina L\u00f3pez, Mireia Rise, Teresa Pecan\u00edn e Neus Ciurana.<\/p>\n

En Espa\u00f1a sempre se lle deu moi pouca importancia ao fundamental traballo dos directores art\u00edsticos e moito menos ao das mulleres que traballaron \u00e9 esa especialidade, quizais xa vai sendo hora que se lles faga xustiza.<\/p>\n

Jorge Gorostiza, Doutor arquitecto.
\nSanta Cruz de Tenerife,\u00a0setembro 2017
\nAutor do blogue Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

[:en]

\"Furia
Furia espa\u00f1ola (Francisco Betri\u00fa, 1975) for that Elisa Ruiz got the prize of Writers’ Cinematogr\u00e1ficos Circle to the best decoration.<\/span><\/figcaption><\/figure><\/p>\n

The investigator Mexican Elisa Lozano<\/a>, whom already I mentioned<\/a> immediately after the publication of his fundamental book on Manuel Fontanals<\/a>, has said to me does so that there is finishing his work about\u00a0Lucero Isaac<\/a>,, the first cinematographic Mexican art director.<\/p>\n

The certain thing is that in the area of the scenery for the cinema the same thing has happened that in other specialities, in which the women had many difficulties to work, almost always through the fault of the own company, since the professionals of the cinema, as those of the theatre, always have been more opened the changes. These problems provoked that when it is thought about the women set designers, it is remembered to before mentioned, to Carmen Dillon<\/a> and to very small more.<\/p>\n

In Spain the women, since in other countries, dealt before the design of wardrobe that of the sets, chronologically one of the first ones – if not the first one – that appears in a few titles of credit is Elisa Ruiz Fernandez, signing like ambientadora in Cruzada en la mar<\/a><\/i>, directed by Isidoro M. Ferry in 1968 and the following year like the sets of the joint production italo Spanish woman Los diablos de la guerra<\/a><\/i> directed by Bitto Albertini in 1969.<\/p>\n

Elisa was born in San Fernando (Cadiz) on October 4, 1939, studied in the High school of Fine arts of this locality where it graduated in 1962;\u00a0she began to be employed at the cinema at the beginning of the sixties as assistant of Jos\u00e9 Antonio de la Guerra’s decoration, being later an assistant of Gago, Surribas, Galicia\u00a0and P\u00e9rez Cubero;\u00a0reconciling his work with the theatre it worked with the great Francisco Nieva<\/a>, who her mentions in his memories Las cosas como fueron<\/a>,<\/i>\u00a0realizing the scenery and the wardrobe of theatrical works, operettas, operas and ballets, in addition it exposed his plastic work in several occasions, did illustrations for books, murals, and also it gave conferences on his work; young woman died at the age of fifty five, in Madrid, after a long disease, on May 21, 1995. I was lucky to attend one of his conferences, the marvellous one that it gave in the UIMP analyzing the wardrobe of the movies\u00a0about Colon.<\/p>\n

I am not going to copy Elisa’s movies, which can consult in the book Directores art\u00edsticos del cine espa\u00f1ol<\/a><\/i>, but yes it is necessary to emphasize that it was employed at five movies as figurinista, at fourteen as assistant of decoration and at seventeen as art director, and at the latter assignment, with the directors like Betri\u00fa, Borau and Saura, at movies that already have gone on to the History of the Spanish Cinema.<\/p>\n

I do not also want to forget other cinematographic Spanish set designers who also began to work in the sixties and seventies, as Mar\u00eda Eugenia Sagard\u00eda,\u00a0N\u00faria Pompeia<\/a>, Elena Guasch, Cristina L\u00f3pez, Mireia Riera, Teresa Pecan\u00edn\u00a0and Neus Ciurana.<\/p>\n

In Spain always little importance has been given very to the fundamental work of the art and great directors less to that of the women who worked is this speciality, probably already it is time that justice is done to them.<\/p>\n

Jorge Gorostiza,\u00a0PhD architect.
\nSanta Cruz de Tenerife,\u00a0september 2017
\nAuthor\u00a0of the blog Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] La investigadora mexicana Elisa Lozano, a la que ya mencion\u00e9 a ra\u00edz de la publicaci\u00f3n de su fundamental\u00a0libro\u00a0sobre\u00a0Manuel Fontanals, me ha dicho hace poco que est\u00e1 finalizando su trabajo sobre\u00a0Lucero Isaac, la primera directora art\u00edstica cinematogr\u00e1fica mexicana. Lo cierto es que en el \u00e1mbito de la escenograf\u00eda para el cine ha ocurrido lo mismo […]<\/p>\n","protected":false},"author":34,"featured_media":66008,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33,36,3,1460,5951],"tags":[12449,12471,6674,1735,432,13137,13138,2427,2154,502,4580,668,1593,13136],"class_list":["post-66007","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arquitectos","category-arte-blog","category-capturas","category-cine","category-slider-principal","tag-arte","tag-cine","tag-decorado","tag-disenador","tag-diseno-interiores","tag-elisa-lozano","tag-elisa-ruiz-fernandez","tag-escenario-artistico","tag-escenografia","tag-escenografo","tag-espacio-escenico","tag-historia","tag-jorge-gorostiza","tag-manuel-fontanals"],"yoast_head":"\n[:es]La primera directora art\u00edstica | Jorge Gorostiza[:gl]A primeira directora art\u00edstica | Jorge 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