The 360° network

Transcription

The 360° network

inTERnaTionaL
nETWoRK of aRTiSTiC
CiRCULaR VEnUES
pRESS RELaTionS
agence plan Bey
Dorothée Duplan
& Aurélie Baguet
+33 1 48 06 52 27
[email protected]
360°
ProJecT MANAGer
catherine henry
+33 3 26 69 50 97
[email protected]
The 360° Network is coordinated
by La comète, scène nationale
de châlons-en-champagne
5, rue des Fripiers
51 000 châlons-en-champagne
www.theatres360.org
circular venues represent an exceptional architectural
and scenographic heritage, although their unique shape often leaves
them isolated and unknown.
This realization, along with a first series of informal meetings
he initiated throughout europe, brought Director of La comète
Philippe Bachman and his peers to create a network connecting
these venues in an effort to enhance their unique nature, common
exchanges and projects: The 360°
network.
1
www.theatres360.org
iNTroDUcTioN
CHÂLonS-En-CHampaGnE / LE CiRQUE / p14
ZaGREB / paViLLon mEŠTRoViC / p16
CopEnHaGEn / ØSTRE GaSVÆRK TEaTER / p18
LonDon / RoUnDHoUSE / p20
SToCKHoLm / GaSVERKET / p22
maDRiD / TEaTRo CiRCo pRiCE / p24
monTRÉaL / La ToHU / p26
amiEnS / CiRQUE JULES VERnE / p26
ELBEUf / CiRQUE-THÉÂTRE / p27
SÉnaRT / La CoUpoLE / p27
miLan / piCCoLo TEaTRo STUDio / p28
amSTERDam / WESTERGaSfaBRiEK / p28
There is an unmatched simplicity in the shape of
a circle. it has neither beginning nor end, therefore embodying the perfect geometrical figure,
the symbol of unity and infinity. since Antiquity’s
Tholos* to more contemporary shapes, the round
has found itself at the centre of numerous speculations and theories, both architectural and
urban. Beyond that simplicity, theatrical performance holds a paradoxical and ambiguous link
to circularity. once the cradle of dramatic acting,
the circle was long deserted before reappearing
through the circus, and then questioning avantgardes throughout the 20th century.
Driven by the dual observation of the existence of
a fantastic, although unrecognized, circular architectural heritage (stable historical circus, industrial
reconverted buildings) and of the absence of an
artistic repertoire harnessing the amazing scenographic potential of the circular space, the 360°
Network intends to reconcile circular architecture
and performing arts.
initiated by La comète around the châlons-enchampagne circus building, the network combines a range of spaces sharing this round characteristic – not unlike the six founding members:
La comète; the roundhouse, a former railroad
rotunda in London turned emblem of all avantgardes since the 1960s; Teatro circo Price, symbol of renaissance Madrid; the gasometers of
copenhagen and stockholm, embodiments of the
architectural flamboyance of the industrial revolution and the scandinavian artistic dynamism; and
the Meštrovi Pavilion, expression of the 1930s
utopian architecture in europe.
Philippe Bachman, Director of La comète
GÄVLE / SToRa & LiLLa GaSKLoCKan / p29
www.theatres360.org
www.planbey.com
* Tholos: in the Greek architecture, a monumental circular structure.
www.theatres360.org
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Building in 360°:
a few words on Architecture
in europe, there are around thirty remarkable buildings which share a common
point of being circular with a round and central stage, seating the audience at
360° around it.
some of these buildings, rooted in industrial origins (railroad rotundas, gasometers, water tanks), went through deep changes for their rehabilitation.
others, already dedicated to performing arts (circus buildings or theatres-inthe-round) simply underwent renovations.
For 30 years this heritage has been given great care in order to sublimate its
architectural and urban identity and to develop a visible activity, notably through
shows, performances, and exhibitions.
The 360° Network identified two major families of circular spaces:
BUiLDiNGs oriGiNALLy iNTeNDeD For The ArTs
Circus Buildings
The oldest circus buildings are primarily located in France. They were built
between 1850 and 1900, most of them based on drawings by Jacques ignace
hittorf, the architect of the Théâtre du Rond-Point and of the famous Cirque d’Hiver
(1852). six other sites are still in service in France: the Douai Hippodrome, the
elbeuf Cirque-Théâtre, Amiens Cirque Jules Verne, and the circuses of reims,
châlons-en-champagne and Troyes, all three located in the champagne-Ardenne
region. The Valenciennes Hippodrome closed down. circus buildings can also
be found in northern europe. Although the ring is circular, the building itself
may be otherwise, like at the royal circus in Brussels, the royal Theatre carré
in Amsterdam, Tower circus in Blackpool and the Great yarmouth hippodrome
in england. They all fit the standard of a track with a 13-meter diameter, the
minimum requirement for full horse laps.
Few circuses are built nowadays; nevertheless the sector’s vitality is noticeable
in Madrid’s Teatro circo Price, and in Montreal’s La Tohu Pavilion.
UniTED KinGDom / RoUnDHoUSE
NoM DU PAys // NoM DU PLATeAU
Dorothée Duplan & Aurélie Baguet / +33 1 48 06 52 27 / [email protected] / www.planbey.com
www.theatres360.org
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Theatres-in-the-Round
Theatres-in-the-round originate from experiments developed at the beginning
of the 20th century in France by Firmin Gémier and in Germany by Max reinhardt. however, from the 1960s onward their primary development took place
in england (old Vic and young Vic in London, stephen Josef Theatre in scarborough, etc.). An original space, covered and renovated in 1986, the studio at the
Piccolo Teatro in Milan currently presents stage characteristics that are more
similar to its model.
one of three venues of La Coupole, Scène nationale of Sénart, L’Arène is located in
a Parisian suburb and stands at a crossroads: designed at the end of the 1980s
by Jean Nouvel, its plans almost exactly follow those of a traditional circus,
although its dimensions bring it closer to a theatre-in-the-round.
DEnmaRK / ØSTRE GaSVÆRK TEaTER
art pavilions
Built in 1938, the Meštrovi Art Pavilion in zagreb is one of the rare completely
round spaces designed to present visual arts, although it has also showcased
several other performances. A testimony of symbolist and utopian architecture,
its history is marked by the political upheavals of the country.
The French Pavilion, also located in zagreb, is another example of this circular
utopia. it is currently under renovation.
iNDUsTriAL BUiLDiNGs coNVerTeD For The ArTs
Most of the 360° Network’s buildings from the industrial age converted for the
arts are part of vaster sites. Although established in the inner suburbs of big
cities at the time they were built, they have since been completely swallowed
by the urban fabric. Their rehabilitation is often the motivation for strong urban
reflections.
it is striking to notice how fast many of these buildings were moved from their
industrial purpose to the performing arts.
Gasometers
Particularly common in Northern europe (Denmark, sweden, Germany, etc.),
plants of gas production and storage were large, metallic, circular structures,
partially buried, surmounted by a mobile lid, which moved up and down according
to the quantity of gas stored inside. For safety and/or aesthetic reasons, these
structures were surrounded by a stone or brick wall, which was saved from
demolition after the plants stopped being exploited, as a witness of the past.
Beautiful examples remain in copenhagen (Østre Gasværk Teater), stockholm
(Gasverket), Gävle (Gasklockan), Vienna (Gasometers A-D) and Amsterdam
(Westergasfabriek).
Railroad sheds
These vast stone-built warehouses were used for train car and locomotive repairs
around a rotating platform. Like the gasometers, they have also been the object
of special preservation measures. The most beautiful example is obviously the
roundhouse, the Mecca of performing arts, in London’s camden district. We can
also find such rotundas in France, in Mohon in the Ardennes or in chambéry.
Despite their good condition, they cannot be used for cultural events due to the
fact that they are still partially in service.
Storage Spaces
other buildings, like a former corn exchange (Toulouse), a stock exchange
(Manchester), stables (Brighton), mail sorting offices (Munich), and water tanks
(Tenerife) were also protected for their unique architectural and urban qualities,
and converted into havens for cultural exchange.
www.theatres360.org
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The 360° network
Origin of the Network
The idea of a network connecting round spaces with an artistic purpose was born
in 2005, during Robert Lepage’s visit to the circus of Châlons-en-Champagne.
Philippe Bachman, who had been recently named Director of La Comète, Scène
Nationale, invited the artist, who was inspired by the peculiarity of the stage area
as a constraint on creation. He mentioned other such spaces like Roundhouse in
London or El Tanque in Tenerife.
Philippe Bachman then ventured to explore these spaces and meet their directors.
He made a primary inventory of round spaces in Europe and noticed that these
singular spaces were all faced with the same programming challenge: the quasinonexistent artistic repertoire caused by technical constraints linked with their
specific architectural characteristics.
Nevertheless, the circular space possesses infinite potential, deeply reinventing
the relationships between the show and the audience, and stimulating the creators’
visual and spatial imagination.
Six directors (Marcus Davey, Pere Pinyol, Peder Bjurman, Pia Jette Hansen, Gaella
Gottwald and Philippe Bachman) then decided to unite and create a network around
artistic development and management of circular spaces presenting performing
and visual arts. In October 2011, they signed a charter outlining the working goals
of the network.
The Founding Members
The founding members represent six countries: France, the United Kingdom, Sweden, Denmark, Spain and Croatia. The founding members set the calendar, work
timelines and decide agendas for meetings. They each act as ambassador to the
network. They also choose the artists who will be commissioned by the network.
Philippe Bachman, Le Cirque / La Comète, Scène nationale, Châlons-en-Champagne, France
Peder Bjurman, Gasverket / International Stage at Gasverket, Stockholm, Sweden
Marcus Davey, Roundhouse, London, United Kingdom
Gaella Gottwald, Pavillon Meštrovi / Croatian Association of Artists (HDLU), Zagreb, Croatia
Pia Jette Hansen, Østre Gasværk Teater, Copenhagen, Denmark
Pere Pinyol, Teatro Circo Price, Madrid, Spain
This project aims not only at reaching mainstream audiences, but also at fostering new perspectives for artists and creators. The beneficial effects of this newly
created synergy would also allow the staff of such organizations to exchange their
knowledge and savoir-faire.
The Associated Members
Other venues have joined the 360° Network. They share the same aspirations and
participate to the work efforts:
La Tohu, Montréal, Canada (Stéphane Lavoie)
Cirque Jules Verne, Pôle National Cirque et Arts de la Rue, Amiens, France (Jean-Pierre Marcos)
Le Cirque-Théâtre, Pôle National des Arts du Cirque, Elbeuf, France (Roger Le Roux)
Scène nationale de Sénart, La Coupole, France (Jean-Michel Puiffe)
Piccolo Teatro, Milan, Italy (Sergio Escobar)
Westergasfabriek, Amsterdam, Netherlands (Mark de Kruijk)
Gasklockorna, Gävle, Sweden (Mikael Berglund)
The 360° Network Organization
The network’s activity is centralized and managed by La Comète, Scène Nationale of Châlons-en-Champagne. A project manager based at La Comète is in
charge of the network’s coordination.
La Comète’s support of the 360° Network and the cultural actions linked to it
is made possible by the support of the French Ministry of Culture and Communication, the Champagne-Ardenne Région, the Marne Département, and
the Association of Cities (Communauté d’Agglomérations) Cités en Champagne.
The establishment of these actions on the regional territory is made possible
by European funding from the FEDER Program, the Regional European Development Fund.
The European Commission’s Culture Programme provides grant to a specific
program based on international exchange.
The members of the network regularly meet for working seminars; they often
invite experts to discuss various subjects pertaining to his/her field of action,
whether it be staging, sound design, relationship with the audience, or artistic
constraint.
Bibliography
The Network’s Charter
The 360° Network’s objective is to communicate actively on the original and exceptional heritage of round artistic venues on a national and international scale. The
main goal consists of reconciling the specific characteristics of these spaces and the
artistic creation in all disciplines of the performing arts. Main lines of work are:
• Raising awareness for the public and artists of the originality of these spaces
• Stimulating the creation of a repertoire that would be specific to such spaces
• Creating a dialogue on the specificities of working within 360°
About Roundhouse: Roundhouse – Guide 1846-2006 – Publ. Roundhouse Trust 2007
About Pavillon Meštrovi : Kreativni krug / Creative Circle - Croatian Association of Artist (Zagreb)
– Publ. HDLU 2011
About Westergasfabriek: Westergasfabriek Culture Park, Transformation of a former industrial
site in Amsterdam - Olof Koekebakker - Nai Publishers - Amsterdam, 2003
Westergasfabriek, het terrein en de gebouwen, en cultuurhistorische verkenning Bureau Monumentenzorg - Amsterdam, 2005
To be published in April 2012: Repertory book of round artistic venues / Guide annuaire des lieux
artistiques circulaires – Edition La Comète / Réseau 360°
www.theatres360.org
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The network 2011/2012 calendar
JUNe 27-28, 2011
Seminar in Copenhagen
NoVeMBer 4-6, 2011
Seminar in Zagreb
JANUAry 24-26, 2012
Seminar in London
sPriNG 2012
Seminar in Stockholm
sPriNG 2012
Youth Exchange program – London / Châlons-en-Champagne
APriL 18-19, 2012
international Conference in Châlons-en-Champagne
Numerous european actors involved in the heritage and value of round venues
(directors, architects, artists, politicians, town planners, stage designers, etc.)
will come to compare their practice of the circular space. The members of the
360° Network will lead and participate in the discussions. The circular stage, its
role in the city, as well as the artistic and stage designing forms that are derived
from it, will be included in the topics discussed during the debates presented
during this highlight of the network’s activity. This conference, open to the public,
will conclude with a concert by Bobby McFerrin, with a special staging at 360°
for the circus of châlons.
SWEDEn / SToCKHoLm GaSomETERS
Bobby mcferrin at 360° (april 19 at 8:30pm)
The song-man agreed to take up the challenge of the circle and will perform
one of his unique shows, alone on stage surrounded by the public –the only one
of this kind in europe.
Bobby McFerrin seldom plans in advance what he is going to sing on stage.
The majority of his shows are completely improvised, which distinguishes him
from other vocalists. his charisma and humour create a unique relationship
with the audience, who he invites to sing musical themes in a loop to provide a
backdrop to his improvisation. he thus transforms the public into a real choir,
giving himself the role of soloist as he shares his energy and his inexhaustible
rhythmic and melodic imagination.
www.theatres360.org
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Travelling Exhibition
A photo exhibition featuring images that best represent the round venues will
tour within the six founding countries. It will be the starting point of a series of
audience outreach actions, focused on schools in particular, to raise awareness
for this architectural and artistic heritage.
Directory Book
The network will publish an elaborately illustrated 150-page book in French and
English, describing the list of 30+ circular spaces located in Europe and beyond.
The book will feature each space’s history and configuration
MAY 2012
Creation by Robert Lepage
Quebecois artist Robert Lepage was the first one to accept the network’s invitation to take up the challenge of the round with a show of completely circular
stage design.
In the final version, Playing Cards will consist of four distinct parts to be created
successively each year between 2012 and 2015.
The structure, themes, subjects and characters of these shows are linked in
one way or another to playing cards. Each part will represent one of the trumps
of a deck of cards; themes such as playing, dependence, manipulation, escape,
alliances between opponents, faith in luck or chance, solitaire or divination
exercises, and the lure of winning will make up the dramatic components of
these stories.
The first part takes place in Las Vegas, during the period when Iraq was being
invaded by the United States in 2003. The parts will be performed by six actorsauthors from Quebec, France, Germany, Great Britain and Spain.
Presentation of the funding members
Creation of Playing Cards 1: Spring 2012 in Madrid
Starting in the fall of 2012, the show will be presented in the network’s partners’
venues in Sénart, Amiens, Châlons, and London.
Creation of Playing Cards 2: Fall 2013
The show will tour throughout most of the network’s venues, and in several
other European countries.
La Comète is the executive producer on behalf of the 360° Network for this show.
The first two parts are primarily coproduced by the network’s members.
www.theatres360.org
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FRANCE
THE Space
Le Cirque
Playing Area: 13m in diameter
1, rue du Cirque
Seating Capacity: 874 seats
51 000 Châlons-en-
Programming: La Comète, Scène Nationale
Champagne
de Châlons-en-Champagne - 5, rue des Fripiers
51 000 Châlons-en-Champagne
T: +33 3 26 69 50 80 / www.la-comete.fr
Representative: Philippe Bachman, Director
Brief History
All over Europe in the 19th century, circus buildings were erected in order to present
very popular spectacles called “circus shows”, which included horses, acrobats,
clowns and all kinds of wonders.
Local architect Louis Gillet was commissioned to design Châlons circus building
by an organization expressly created for that purpose. Gillet took his inspiration
from the circus building of Rouen (now destroyed) and used an avant-garde and
controversial material for that time: concrete. The circus, which was inaugurated
in 1899, ultimately was of little use to itinerant companies who preferred to settle
their tent in nearby Grand Jard (City Park); it quickly became a multi-purpose hall,
hosting political meetings, boxing games, film screenings, etc.
In 1938, the Circus Society sold the building to the city of Châlons, which converted
it to a sports training hall. In 1984, it was added to the list on the inventory of historic
monuments for its original octagonal plan.
In 1985, Jack Lang (Minister of Culture under François Mitterrand) decided to have
the Centre National des Arts du Cirque installed there. It was launched by the French
Ministry of Culture and was the first national school of circus arts.
Current Project and Programming
The historical Circus of Châlons-en-Champagne still belongs to the city, which rents
it out under long lease to the Centre National des Arts du Cirque (CNAC). In 2009, the
Circus was closed for two years for renovation (standardization and embellishment)
it reopened in May 2011 for the CNAC’s 25 years anniversary.
It is used as a rehearsal space and a showcase venue for the students work.
La Comète, Scène Nationale de Châlons-en-Champagne, managed by Philippe Bachman, presents a small part of its programming there: the end of year show of the
23rd promotion of the CNAC in December 2011, Bobby McFerrin’s concert in April
2012, Robert Lepage’s creation in December 2012.
Before the start of 2014, the CNAC will get a new workspace and the historical circus
of Châlons will be available for larger programming.
www.theatres360.org
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CROATIA
THE Space
Meštrovi Pavillon
Programming: Croatian Association
Trg Zrtava Fasizma
of Artists (HDLU)
b.b. Zagreb
Representative: Gaella Gottwald, Director
T: +385 1 461 18 18
www.hdlu.hr/eng/
Brief History
This rotunda was designed in 1934 by the great sculptor Ivan Meštrovi . It was meant
to serve not only as the Art Pavilion of Zagreb in order to meet the Strossmayer Art
Society’s new needs, but also as a commemorative monument for King Peter I the
Liberator. The Meštrovi Pavillon, which was inaugurated in 1938, features white
marble and a glass dome. It is a kind of synthesis of monumentalism and modern
asceticism, and is absolutely unique in Europe. It presented the program of the
House of Visual Arts from 1938 to 1941, a year when major historical events made
it into a mosque. Three tall minarets, which lasted only three years, were installed.
In 1945, it became the Museum of the Revolution, and stayed that way until the end
of the 1980s. In 1990, the Croatian Association of Artists (HDLU) organized a major
exhibition there, “Documents / Arguments”, which allowed it to come and settle in
the circular pavilion. Each change of tenants led to important developments (addition
of a concrete ceiling, construction of partitions, etc.), but in 2001, a full renovation
began and was completed in 2008.
HDLU, a free association dedicated to the promotion and defence of visual artists
and their rights, organizes exhibitions, workshops, conferences and happenings
in this magical space, which consists of four galleries of various sizes and a main
exhibition hall.
It is a place of life and meetings for whoever is interested in the art in Croatia.
Its director, Gaella Gottwald, was born in Montreal to Croatian parents. As a painter, an
illustrator, and a designer, she always introduced the characteristics of her working
places. The Meštrovi Pavilion is all the
more present in her project as she puts it
in the heart of a European dynamics.
www.theatres360.org
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DENMARK
THE SPACE
Østre Gasværk Teater
Playing Area: 350m2
Nyborggade 17
2100 Copenhagen
Representative: Pia Jette Hansen, Director
T: +45 39 27 91 11
www.gasvaerket.dk
Brief History
The gasometer of Copenhagen was
designed by architect Mogens
Nyrup and built in 1883 on the
outskirts of the city centre.
Inspired by the classic
Roman Pantheon, it is a
brick cylinder hiding the
metal gas tank and covered with a dome of metal
and wood. It was dedicated to industrial activities
until its abandonment in
the 1950s. In the course of
the 1970s, the Royal Danish
Theatre Company used it as
storage space. Morten Grunwald,
director of the Betty Nansen Theater,
then decided to take back this beautiful
space. With the help of Peter Brook, who was looking for a place to present his
Tragédie de Carmen in Denmark in 1983, he built the theatre structure, which still
stands to this day. He managed the Østre Gasværk Teater until 1998. He installed
a rotating stage there in 1992 and erected in 1997 a new building connected to the
gasometer through a tunnel, in order to house the administrative services.
After its “godfather” Peter Brook, the theatre presented great musicians (Bob Dylan), choreographers (Merce Cunningham), and plays (with the Royal Shakespeare
Company). Nowadays, its programming consists mostly of long run musical shows.
Actor and director Pia Jette Hansen, who often carries out European projects,
became head of the Østre Gasværk Teater in 2010. It hosts over 160 performances
per year.
www.theatres360.org
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UNITED KINGDOM
The Space
Roundhouse
Playing Area: Flexible
Chalk Farm Road
Seating Capacity: up to 1400 seats
London NW1 8EH
Representative: Marcus Davey,
www.roundhouse.org
Artistic and Executive Director
T: +44 20 7424 9991
Brief History
Made of brick, iron and wood, this train station rotunda was designed by engineer
Robert Dockray for railroad company London and Birmingham Railway in 1846;
after about twenty years of activity it became a wine and liquor storage space.
It then became a cultural venue at the turn of 1960s, when it was occupied by a
revolutionary movement of popular culture led by Arnold Wesker, the Center 42
and the support of the Labour Party, which was in office at the time, raising funds.
Renovated by French architect René Allio, the Roundhouse opened its doors in
1966 with a memorable evening featuring the underground artistic scene of the
time (Pink Floyd, Michelangelo Antonioni and Monica Vitti, Marianne Faithfull, to
name a few).
It thus became the major venue presenting counterculture, alternating concerts and
psychedelic happenings, punks and underground. Regarding theatre, the Roundhouse was the place where Peter Brook created The Tempest before he moved to
France to continue his work; the Science Fiction Theatre of Liverpool invented its
four-hour saga Illuminatus!; the Living Theatre moved in as a company in residency
(camping would be a better description!) and Kenneth Tynan created Oh! Calcutta!,
the first musical in which male and female actors appeared completely naked.
Jean-Louis Barrault presented Rabelais, Ariane Mnouchkine 1789, and the Royal
Shakespeare Company started to regularly perform its productions. While intensely
creative, the great financial instability of the Roundhouse led to its closing in 1982.
It was bought back by the town of Camden, which failed to launch new projects,
leaving the Roundhouse dormant for nearly two decades.
In 1996, brilliant entrepreneur Torquil Norman, keen on aeronautics and a culture
lover, became infatuated with this place where he spent so many nights in the 1970s
and decided to purchase it. He invested his own money into the vast project where
education, arts and new technologies meet.
Set around a large flexible performance space, the “new” Roundhouse owns recording studios, costume workshops, as well as performing arts technique workshops
dedicated to young people looking to reroute their career.
Marcus Davey, the current director, joined him in 2001 and participated greatly in the
elaboration and implementation of this new project. The demolition / reconstruction
led by architect John McAslan began in 2003 and ended in 2007.
www.theatres360.org
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SWEDEN
The Space
Gasometers of Hjorthagen
Building in the process of rehabilitation
(Hjorthagen neighbourhood)
to be hosting performing arts.
Gasverksvagen 1
Programming: international
115 42 Stockholm
Stage at Gasverket
www.gasverk.com
Representative: Peder Bjurman,
Director of International Affairs
Brief History
The gasometers of Hjorthagen were built in 1893 based on the drawings of one
of the most important Swedish architects, Ferdinand Boberg. They were one of
the centrepieces of the Swedish power industry during the industrial revolution.
The buildings got listed on the inventory of historic monuments in 1972, although
active until 2008.
Cullberg Ballet, the Royal Swedish Opera, Cirkus Cirkör, and several other performing arts companies and institutions collectively baptized International Stage
at Gasverket in order lead the rehabilitation of the gasometers site, made it an
innovative and federative cultural pole. It was envisioned as a place where the
biggest international companies could come and
perform, which so far has not been possible
in Stockholm.
Whether it is in dance, theatre or
circus, the gasometers site offers an unimaginable opportunity to supply an international window for performing
arts within the city.
International Stage at Gasverket hired several architecture firms to work
on this artistic and urban
project aimed at revitalizing
a whole district. The studies
are currently in progress.
www.theatres360.org
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SPAIN
The Space
Teatro Circo Price
Playing Area: diameter of 19 meters
Ronda de Atocha, 35
28012 Madrid
Representative: Pere Pinyol, Director
T: +34 91 527 98 65
www.teatrocircoprice.es
Brief History
The Circo de Price is a Madrid legend. Arriving from the British Islands to display
his horse shows, Thomas Price had the first circus built in 1868 by architect Pedro
Vidal, then a second one in 1880 by architect Agustín Ortiz de Villajos on the Plaza
del Rey, which became one of the most popular entertainment spots for the natives
of Madrid in the 1920s and 1930s. In the 19th century in Madrid, one could count
about 10 circuses where people would come and watch dance, boxing, wrestling,
listen to music, and of course, see circus shows. In 1970, the building was deserted,
then sold, and eventually destroyed. Over the years, the memory of the Circo became
more resonant, and the Ministry of Culture and City of Madrid nurtured the idea of
building a new one, at the same time giving a new life to a former industrial district
which had been rather derelict.
The city of Madrid acquired the grounds of Ronda de Atocha and appointed architect
Mariano Bayon to build what became Teatro Circo Price, officially inaugurated in
March 2007.
Its remarkable facade is made of metallic glass
tiles. It constitutes the only case of a circus
recently built in Western Europe, hidden
behind the protected facade of a former factory.
The cylindrical building houses a
circular room which can seat up to
2300 spectators for circus shows,
of course, as well as concerts and
events in any discipline: it is the
main venue for popular culture in
Madrid.
In 2008, Madrid’s Delegation of the
Arts named Pere Pinyol - actor, director and company manager - the head of
Teatro Circo Price.
www.theatres360.org
25
Associated members
Canada – La Tohu
2345, rue Jarry Est
Montréal (Québec) H1Z 4P3
T: +1 514 374 3522
France – Cirque-Théâtre
Director: Stéphane Lavoie
www.tohu.ca
La Tohu is home to Cité des Arts du Cirque, as well as Cirque du Soleil and Ecole Nationale du
Cirque, within the vast city planning project, the Saint-Michel Environmental Complex (named
after district Saint Michel, one of North America’s largest landfills located in a urban zone). In
2004, architects Jacques Plante and Jodoin Lamarre Pratte & Associés built the Pavillon des
Arts: a variable-geometry circular theatre with a strong environmental mission.
France – Cirque Jules Verne
Place Longueville
80 000 Amiens
T: +33 3 22 35 40 44
Seating capacity: 1700 seats
Director: Jean-Pierre Marcos
www.cirquejulesverne.com
The Circus of Amiens (designed by Emile Riquier, a disciple of Gustave Eiffel) was inaugurated in
1889 by Jules Verne, then a local councillor. It showcased the most prestigious circus families. It
was listed on the inventory of historic monuments in 1975 for its facade and roof. Rehabilitated
in 2002 (with colour restoration by Austrian artist Ernst Caramelle), it was labelled Pôle National
Cirque et Arts de la Rue and presents complete cultural seasons of circus arts.
2, rue Henry
76 550 Elbeuf
T: +33 2 32 13 10 49
Director: Roger Le Roux
www.cirquetheatre-elbeuf.com
Built in 1892 by architect Laquerrière, and renewed in 2003 by architecture firm Archidev, the
Circus of Elbeuf was listed on the national register of historic monuments in 1998 for its facade,
its roof and the stage frame. Since 2007, it has been presenting programming focused on physical
prowess and circus arts. In 2011, it received the label “Pôle National des Arts du Cirque”.
France – La Coupole
Rue Jean-François Millet
77 380 Combs-la-Ville
T: +33 1 60 34 53 60
Seating capacity: L’Arène - 620 seats
Director: Jean-Michel Puiffe
www.scenenationale-senart.com
La Coupole was designed by Jean Nouvel, and inaugurated by Danielle Mitterrand (the wife of
François) in 1989. It features several elements dedicated to culture and performing arts: a media
library, a music conservatory, plastic arts and, of course, a cultural programming of live shows
and cinema… L’Arène, the symbolic centre of the building, hosts multidisciplinary contemporary
live shows, in which theatre, circus and music mix. In 1991, the label “Scène nationale de Sénart”
was awarded by the French Ministry of Culture to the venue.
www.theatres360.org
27
Italie – Piccolo Teatro
Via Rivoli 6
20121 Milano
T: +39 02 72333400
Seating Capacity: STUDIO - 438 seats
Director: Sergio Escobar
www.piccoloteatro.org
When it opened in 1859, this theatre-in-the-round designed by Ferno Zuccari, and then called
Teatro Fossati after its financier, was open-air and inspired by Elizabethan theatres. It was
renovated in 1986 and added as “Studio” to the already existent Piccolo Teatro, thus becoming
Italy’s largest public theatre. A part of the Piccolo Teatro’s performing arts programming is
presented there, mostly experimental theatre and music.
Suède – Stora & LilLa Gasklockan
Atlasgatan 3
Gävle 802 86
T: +46 70 167 55 26
Seating Capacity Stora: 500 seats
Seating Capacity Lilla: 250 seats
Project Manager: Mikael Berglund
www.gasklockornagavle.se
Pays-Bas – Westergasfabriek
Pazzanistraat 41,
1014 DB Amsterdam
T: +31 586 0710
Seating Capacity: Te Gashouder - modular space
Director: Mark de Kruijk
www.westergasfabriek.nl
This small industrial site transformed into a cultural centre consists of a small gasometer
designed by Ferdinand Boberg (the architect of Stockholm’s gasometers) in 1893, and a larger
one built in 1898 by John Eklund, both in brick. An industrial wasteland for a while, it was taken over by the city in 2009 in order to develop cultural exchange and programming (rock and
theatre festivals).
This gasometer was built in 1883 as part of a large industrial complex reserved to the production
and storage of gas, and used as such until the end of the 1980s. Later transformed for cultural
purposes, it became so important that a large rehabilitation project was launched in 1996 on
the entire grounds, buildings and spaces, thus creating a unique cultural complex. The Westergasfabriek opened in 2003 and presents exhibitions, shows, performances, concerts, and collaborations with the Holland Festival within Gashouder, a space that is infinitely transformable.
www.theatres360.org
29
CHÂLonS-En-CHampaGnE / LE CiRQUE / p14
ZaGREB / paViLLon mEŠTRoViC / p16
CopEnHaGEn / ØSTRE GaSVÆRK TEaTER / p18
LonDon / RoUnDHoUSE / p20
SToCKHoLm / GaSVERKET / p22
maDRiD / TEaTRo CiRCo pRiCE / p24
pRESS RELaTionS
agence plan Bey
Dorothée Duplan
& Aurélie Baguet
+33 1 48 06 52 27
[email protected]
monTRÉaL / La ToHU / p26
amiEnS / CiRQUE JULES VERnE / p26
ELBEUf / CiRQUE-THÉÂTRE / p27
360°
ProJecT MANAGer
catherine henry
+33 3 26 69 50 97
[email protected]
The 360° Network is coordinated by
La comète, scène nationale
5, rue des Fripiers
Graphic design
www.lesrasqas.com
SÉnaRT / La CoUpoLE / p27
miLan / piCCoLo TEaTRo STUDio / p28
amSTERDam / WESTERGaSfaBRiEK / p28
GÄVLE / SToRa & LiLLa GaSKLoCKan / p29
www.theatres360.org
www.planbey.com
pRESS RELaTionS
agence plan Bey
Dorothée Duplan
& Aurélie Baguet
+33 1 48 06 52 27
[email protected]
360°
ProJecT MANAGer
catherine henry
+33 3.26.69.50.97
[email protected]
The 360° Network is coordinated by
La comète, scène nationale
5, rue des Fripiers
Graphic design
www.lesrasqas.com

The 360° network

Transcription

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