60 Años de la Escuela Nacional de Arte Teatral del INBA
Socorro Merlín
CONACULTA / INBA-CITRU
México, 2008
186 p.
En continuidad con la que ha sido una de las líneas fundamentales de investigación en el CITRU –el registro documental de la producción teatral del Instituto Nacional de Bellas Artes, desde su fundación en 1946 hasta nuestros días- el libro 60 años de la Escuela Nacional de Arte Teatral del INBA de Socorro Merlín, elabora una memoria que da seguimiento, a lo largo de seis décadas, a la gestión académica de sus distintas autoridades y a la evolución de la ENAT como centro formador de profesionales del teatro –actores, escenógrafos y directores- con énfasis en la constante transformación de la estructura curricular de sus carreras y de sus planes y programas de estudio. En otra línea temática de la memoria se relacionan, año con año, repertorios, temporadas y puestas en escena generados por sus maestros y alumnos, muchos de los cuales, por las personalidades que participaron y por su impacto artístico y cultural, marcaron momentos fundacionales en la historia del teatro mexicano de la segunda mitad del siglo XX. En un apartado especial se reúnen testimonios de Salvador Novo, Dagoberto Guillaumín, José Solé, Emilio Carballido, Wilebaldo López, Jorge Reyna, Ricardo Ramírez Carnero, Ignacio Escárcega y Antonio Algarra, quienes evocan y evalúan, en primera persona, su trabajo como directores, de ayer y de hoy, de la ENAT. Se incluye el discurso pronunciado por Jaime Torres Bodet, secretario de Educación, en la inauguración de la escuela en el Palacio de Bellas Artes, así como un listado de los maestros que han formado parte de su planta docente. El libro se ilustra con imágenes de integrantes de la comunidad escolar, de escenas y actores de montajes seleccionados, así como de documentos varios, tales como programas de mano e invitaciones.
60 years of INBA national school of theatrical art (Escuela Nacional de Arte Teatral del INBA)
Socorro Merlín
CONACULTA / INBA-CITRU
México, 2008
186 p.
Along with what has been one of the fundamental research lines within CITRU —the document log of theater production by the National Institute of Fine Arts (Instituto Nacional de Bellas Artes) since its foundation in 1946 until the present day—, the book 60 Years of INBA’s National School of Theatrical Art, by Socorro Merlín, creates a memory that follows (throughout 6 decades) the academic management of the various authorities of the institute. It also focuses on the evolution of ENAT as a center devoted to the professional shaping of theater professionals —actors, stage designers and directors— emphasizing the constant transformation of curricular structure of the majors and its study plans and programs. Another subject matter of the memory is the year by year relation of repertoires, seasons and stagings created by teachers and students alike. Many of these, due to the personalities participating and their artistic and cultural impact, branded foundational moments in the history of Mexican theater during the second half of the 20th century. Within a special section are gathered testimonials by Salvador Novo, Dagoberto Guillaumín, José Solé, Emilio Carballido, Wilebaldo López, Jorge Reyna, Ricardo Ramírez Carnero, Ignacio Escárcega and Antonio Algarra, who evoke and assess, in the first person, their work as directors of yesterday and today and of ENAT. The speech pronounced by Jaime Torres Bodet, Education Secretary, during the opening of the school in the Palace of Fine Arts (Palacio de Bellas Artes) is included, as well as a listing of teachers who have been a part of its staff. The book is illustrated with images of members of the school community, with scenes of actors and selected stagings, as well as with varied documents, such as hand programs and invitations.
70 años de teatro en el Palacio de Bellas Artes (1934-2004)
Jovita Millán Carranza
CONACULTA / INBA
México, 2004
158 p.
El Palacio de Bellas Artes fue concebido, desde su inauguración en 1934 por el presidente Abelardo Rodríguez, como el recinto oficial para difundir la actividad cultural y artística generada por el Estado mexicano y para albergar las más destacadas manifestaciones artísticas en los campos del teatro, las artes plásticas, la danza, la música y la ópera surgidas en nuestro país. En el marco de la celebración del 70 aniversario, el libro ofrece un recuento en orden cronológico de las puestas en escena que habitaron su escenario, con énfasis en las temporadas históricas de los primeros cincuenta años (1934-1984), pues la actividad teatral en el Palacio durante las últimas tres décadas es prácticamente inexistente. En paralelo, se realiza un seguimiento de los programas y políticas culturales oficiales relacionadas específicamente con el teatro. La reseña de los eventos teatrales se organiza en los siguientes rubros: Compañías mexicanas, Teatro popular, Grupos experimentales, Escuela de Arte Teatral, Temporadas, Concursos, Eventos especiales y Compañías y grupos extranjeros.
70 años de teatro escolar del Instituto Nacional de Bellas Artes
Xóchitl Medina Ortiz
CONACULTA / INBA-CITRU
México, 2013
369 p.
Esta memoria institucional reúne la información sobre uno de los programas culturales más ricos y constantes del Estado mexicano: el Programa de Teatro Escolar, iniciado en la SEP y cuya madurez está ligada al surgimiento del Instituto Nacional de Bellas Artes y Literatura. Desde 1942 hasta 2012, millones de escolares de todos los grados han tenido un contacto intenso con el teatro gracias a este programa realizado en conjunto con las autoridades educativas y que, al mismo tiempo, ha sido una plataforma de profesionalización para los practicantes del teatro y un espacio idóneo de especialización.
70 años de Teatro Escolar del Instituto Nacional de Bellas Artes conjunta una valiosa documentación sobre los propósitos, las formas de operar el programa, sus diversos resultados, el registro de todas las obras teatrales presentadas en este largo periodo, con los testimonios de participantes y organizadores, y una atractiva memoria gráfica que dan cuenta de su nobleza y valor.
70 years of school theater at the national institute of fine arts (Instituto Nacional de Bellas Artes)
Xóchitl Medina Ortiz
CONACULTA / INBA-CITRU
México, 2013
369 p.
This institutional memoir gathers information about one of the richest and most constant programs of the Mexican State: The School Theater Program, which was started by SEP. Its maturity is linked to the foundation of the National Institute of Fine Arts and Literature (Instituto Nacional de Bellas Artes y Literatura). Since 1942 and until 2012, millions of students of all ages have had an intense contact with the theater thanks to this program. It has been implemented along with educational authorities and also it has become a platform for the professionalization of theater practitioners, and an ideal space for their specialization
70 Years of School Theater at the National Institute of Fine Arts brings along a valuable documentation on the purposes of the program, the ways of operating it, its diverse results and the log of every theater play ever presented in this long period. It also includes testimonials of participants and organizers alike, and an attractive graphic memory accounting for its nobility and worth.
70 years of theater in the palacio nacional de las bellas artes (1934 - 2004)
Jovita Millán Carranza
CONACULTA / INBA
México, 2004
158 p.
The Palace of Fine Arts (Palacio de Bellas Artes), since its inauguration in 1934 by President Abelardo Rodríguez, has been the official place in which nationally sponsored cultural and artistic activities are advanced, as well as host to the most outstanding theater, plastic arts, dance, music, and opera expressions produced in Mexico. In the backdrop of the 70th anniversary of the palace, the book offers a chronological history of the plays that were performed in it with an emphasis on its first fifty years (1934-1884); this is due to the lack of plays and theatrical performances there during the last three decades. The book also presents a study on programs and official cultural policies specifically related to the theater. The review is organized as follows: Mexican companies, popular theaters, experimental groups, theater art schools, seasons, contests, special events and foreign groups and companies.
A glance at the life and work of Sergio Magaña 1924-1990
Leslie Zelaya, Imelda Lobato, Julio César López
Secretaría de Cultura de Michoacán / CONACULTA / INBA-CITRU
México, 2006
330 p.
Cruce de Vías; 3
In this edition, done along with Michoacán’s Culture Department as an homage to one of the most distinguished people born there, the aesthetic and literary contributions of Sergio Magaña (1924-1990) —the greatest playwright of the second half of the Mexican 20th century—, born in Tepalcatepec, are valued. Within a story recounted by several voices, the book is structured under the following chapter list: “A Glance at the Writing of Sergio Magaña”, a study advancing an interpretation hypothesis on the trajectory, aesthetics and style of the playwriting of Sergio Magaña; “Sergio Magaña by himself”, where the re-telling mentions meaningful personal and professional moments of his personal biography in his different facets as a writer, composer, teacher, journalist and cultural public servant, “Stage History of Playwriting”, presentations, technical files, photographs, programs, posters, reviews and testimonials by the author, documenting the stage history of his dramatic texts. “Literary Work”, a compilation of the log of writings by Magaña in the different genres in which he wrote (playwriting, narrative, critique) and in several publication formats (books, periodical publications, films); and, finally, “Sources for His Study”, a chapter intended as a bibliography-periodical publishing reference and as an anthology of studies and/or critical reviews published in books, magazines and newspapers on the playwriting and staging of the works of Sergio Magaña.
The annex includes a map of the constellation of creators (directors, actors, stage designers, lighting technicians, costumers, musicians, producers and institutions) who throughout several decades and with greater or lesser consistency merged with the stagings that gave life to his dramatic texts.