Con A de animación - No 07 (2017): La animación a escena

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  • Editorial


Reseñas

  • DECORADO (una vida en escena), de Alberto Vázquez.
  • DOT. La animación en espectáculos de teatro

Reportajes

  • Kathy Rose y Miwa Matreyek: danza animada y representación.
  • Sobre cómo William Kentridge llegó a la luna. Journey to the moon.

Perfiles

  • Barry Purves, el animador escénico
  • César Díaz Meléndez: commissioned animator de día, animador independiente de noche

Espacios expositivos

  • Cuatro ediciones de Prime the Animation!

Producción

  • The neverending Wall. Diario de producción de un cortometraje
  • Esculpiendo el fotograma. La elaboración de maquettes en el proceso de producción de largometrajes animados

Firma invitada

  • La animación experimental en el territorio de los afectos

Investigación

  • El recorrido como estrategia en Alvar Aalto. Análisis de cuatro obras, 1926-1928.
  • El muro como trabajo espacial: los relieves de Jorge Oteiza en la arquitectura (1951-1958)
  • Aproximación crítica del “plug” en la re-conceptualización del programa arquitectónico
  • La ubicación de instalaciones sin apertura de rozas en cerramientos y particiones cerámicas

Artículos de investigación

  • Nuevas formas de llevar una ópera al teatro. Un caso de estudio. La flauta mágica de la compañía 1927 y de Kosky: animación 2d, nuevas tecnologías digitales y estilo vintage
  • Teatro cinema: espacio animado, narración gráfica y puesta en escena de la obra historia de amor
  • La postproducción tridimensional de largometrajes con Blender. Aproximación a los flujos de trabajo con software libre en el desarrollo de secuencias de animación
  • Adagio. La materialidad como elemento narrativo y simbólico
  • La escalada de la animación. Desde los escenarios de Karel Zeman al encuentro con Josef Svoboda
  • El estudio de dibujos animados CIFESA y las películas de Rigalt-Reyes

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    English information
    (Universitat Politècnica de València, 2017-03-01) Animación Arte e Industria, Grupo
    Datos en inglés de los artículos incluidos en este número de la Revista Con A de animación
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    El estudio de dibujos animados CIFESA y las películas de Rigalt-Reyes
    (Universitat Politècnica de València, 2017-03-01) González Monaj, Raúl; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de València
    [EN] The golden age of the Spanish animation (1939-1955) —when over one hundred of short-films and other five feature-length animated films were produced— has always been interesting because of the difficult post-war context in which it developed. But it becomes more challenging if we focus on its beginnings, mostly times a self-learning period, and even more if we move away from the epicenter of Barcelona city. This is the story of the first Valencian animators that we have recorded, the practically unknown team of Carlos Rigalt and José Mª Reyes.However, in this essay, an enigmatic side is also added to their pioneering heroism because the-re is no trace of this couple’s mysterious work sponsored by CIFESA in their ephemeral in-cursion into a personal production through a little animation studio —Estudio de Dibujos Animados CIFESA. Works, authors and in-frastructures that did not transcend and that the time buried under the cover of forgetting, but that they may deserve to be remembered due to their condition of pioneers in a technique, in a country in hard times. The aim of this work that started in Valencia, and after Madrid and Barcelona, it will amazin-gly end in Guatemala, is to restore his memory. A travel behind the steps of a multidisciplinary and talented artist who was the most important element of the story and complicit in his own oblivion at the same time
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    La escalada de la animación. Desde los escenarios de Karel Zeman al encuentro con Josef Svoboda
    (Universitat Politècnica de València, 2017-03-01) Machuca Casares, Blanca
    [EN] Puppet theater is one of the most important traditions at Czech Republic, which has cana-lized the development of stop-motion anima-tion and theater. Karel Zeman entered in fil-mmaking through stop-motion, like Jiří Trnka and Hermína Týrlová. At the same time, news stage installative techniques were developed by the Lanterna Magika, a new teatral company, and, especially one of its founders, the stage de-signer Josef Svoboda, who combined real actors with animation. As well, one of the most rele-vant features of Karel Zeman as a filmmaker was the use of diferent kind of space according to what the Mise-en-scène needed, a context that will allow us to analize stage techniques with film techniques like matte-painting — si-milar to stage techniques, and projections and theatral methods applicables to Zeman’s ani-mation, like his actoral methods in relation to puppets. In this essa, through the analysis and comparison of works by Zeman and Svoboda, and the different scenes they devise, we will realize that animation and theatre are commu-nicating vessels
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    La postproducción tridimensional de largometrajes con Blender. Aproximación a los flujos de trabajo con software libre en el desarrollo de secuencias de animación
    (Universitat Politècnica de València, 2017-03-01) Roque López, Miguel Ángel
    [EN] In this article we will look at the evolution and challenges involved the digital postproduction of the film El Hereje, produced in 2015, where have been used three-dimensional graphics ge-nerated by free software Blender. We will cross the different stages of the visual effects of a fea-ture film analyzing the problems and solutions employed in this production. The postproduc-tion of this film has been made by the research group IDECA belonging to the University of Castilla-La Mancha, being the first long feature made in Spain under these conditions
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    Teatro cinema: espacio animado, narración gráfica y puesta en escena de la obra historia de amor
    (Universitat Politècnica de València, 2017-03-01) Conde Aldana, Juan Alberto; Cristancho Hernández, Juan Manuel
    [EN] The use of film and video projections in thea-trical staging and scenography is a common strategy in contemporary theatre. Animation is also part of the possibilities offered by audiovi-sual language to dramatic performance. In this context, the Chilean company Teatro Cinema has pioneered the transformation of dramatic space through the use of digital technologies. By offering spatial compositions that bring to-gether drama and cinema languages in original ways, Teatro Cinema goes beyond the basics bi-dimensional projections to a brand new tridi-mensional spatiality. In this paper we propose a review of the play Historia de amor (Love Story), in which this company achieves this transfor-mation in the most effective way, by also intro-ducing expressive strategies from graphic narra-tives, in a sort of animated graphic novel with live action performers, which expands the theatrical experience, but also inaugurates for the anima-tion a new space of contact with its public, in the field of the living arts