Theatre in BE - (CADENA SER)
26/03/2011 "A story well told, with good voices and wrapped by music and appropriate sound effects. That is the radio play. "Defined it as simple as Ricardo Palmerola first box Beau Radio Barcelona players.
However, much more. If in the early years of radio music live orchestra was Queen wave, after the English Civil War found the word, the power of voice, capable of bringing the dream of a society torn by hunger and sadness. In 1940 began arriving in Madrid Youth Radio in response to the call program "Your career is the radio" . One of them was the great Ginzo Juana. "The term was over, "recalls the actress, but I did the test and told me I could live my whole life on the radio. They were right. "
Antonio Calderón actors created the Radio Society of Madrid in 1942. Barcelona did the same Armand Blanch. And in smaller stations also ensued theater, always on horseback between adapting classics and interpretation of scripts written specifically for radio. It's unfair, but understandable by the supposed success, "believe that the dramatic English radio has been reduced to the very long and tear dramas, mirror society of those times. If Sautier Casaseca triumphed with "Love Rose" , if the ladies were crying attached to the receiver when emitted "What never dies," evening offered " Theatre Air "and went from there to Lope de Vega Calderón, of Ibsen Buero Vallejo.
today must reclaim the role played by the BE offering avant-garde theater, even authors not exactly well regarded by the Franco regime. Experimenting with new forms of theatrical expression has left radio scripts as "Steps" , Calderon, who was able to tell the story of a crime only to the sound of the footsteps of his protagonists. It is also right to recall a musical editors, as Remedios de la Peña, Rafael Trabuchelli or Enrique Aroca, who could spend hours picking the best passage to enhance the drama of a scene, "Ruidera as Esteban Caballero, through whose hands passed storms or battles with the simple aid of a piece of cellophane or a coconut.
The sound archive of the product to be treasured for many afternoons rehearsing and recording, and the voices of a lengthy cast of Peter Pablo Ayuso Matilde to Vilariño of Isidro Eduardo Sola to Lacueva, or narrator Teófilo Martínez. Remember Matilde Conesa, actress, actors sometimes had to wait to get out the scripts, hot, typewriter. "We sat around a table, a short reading to correct, and then to the micro." And thereafter, King was the director. Antonio Calderón, now deceased, once told us: "I was awaiting the completion , Microphones, with whom he had to make several shots, the narrator's line of action, all that was brewing in the control. Had a great respect for the work, except one time when all actors agreed to strip, and cover the nakedness with the script. I was about to throw them into the street! ".
Until well into the 70's, the radio play resisted new ways of doing radio, but they were disappearing pictures of actors, and almost the last series that aired on SER was "The saga of the Porretas" . Currently sporadically dramatic overlook our antenna, eg "Goal 3". And do we always hear the same question: would they have today place in the schedule?.
AIR THEATRE: Taming of the Shrew, by William Shakespeare. (06/26/1960)
Air Theatre Presents 'The Taming of the Shrew' by William Shakespeare.
version Victor Ruiz Iriarte. Adapting Carmen Vázquez Vigo.
Performed by the troupe of actors from Radio Madrid.
Catalina:
Matilde Conesa Petruccio: Pedro Pablo Ayuso
White: Selica Torcal
Hortensio: Julio Varela
Guild: Antonio Candela
Lucentio: Eduardo Lacueva
Baptist José Franco
Tanio: Manuel Lorenzo
Silvia: Pilar López Peláez
Diana: Angela Gonzalez
Lucia Ana Cari Mounting
Musical: Rafael Trabuchelli
Director: Rafael Fuster
must now assert the role played by the BE offering avant-garde theater, even authors not exactly well regarded by the Franco regime
The sound archive of the product to be treasured for many afternoons rehearsing and recording, and the voices of a very long cast
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