FiraTàrrega. Teatre al carrer

Module 2

The city and artistic creation

Theoretical/practical module

Based on the experience of well-known theoreticians and creative professionals, students will be introduced to the history of street arts. We will work on the codes that distinguish artistic demonstrations in public space in contrast to artistic activities undertaken in conventional theaters and exhibition circuits.

The practical section that closes out the module is focused on proposing a foundation for dramatic composition that should allow students to master scenic narration on the street, ranging from basic dramatic theory to writing a show.


  • Street arts and historical contexts (12h). Mercè Saumell

Many forms of street art take their origins from rituals, ceremonies and popular medieval celebrations, mixing the miraculous with the pagan, the sublime with the vulgar. The street has also been the setting for political and religious power, in the form of parades and processions, over the centuries. The urbanization of the Western world, from the 20th century on, has led to new manifestations of the genre: from the agitprop of workers' movements and the explosion of street troupes in the 1970s to the theatricalization of large-scale events such as the opening ceremonies of the Olympic Games or the internationalization of tourism. Street arts in Catalonia has played a distinguished role in this period.

  • The aesthetics of street arts (24h). John Lee / Jordi Jané

Many families of European artists have chosen to build their discourse by means of everything offered by the public space. Britain, France, Spain... every context has given way to a specific method and today has resulted in a rich and evocative panorama. In this course there will be a contrasting analysis of various proven art materials that have emerged over the past fifty years.

  • The visual arts and public space (12h). Octavi Rofes

During the 1970s, the visual arts break with the usual patterns to which they had adhered, and artists decide to take on a more relevant role in public space. The street becomes an ideal space for undertaking artistic projects, both because of what it can offer and because it is a different space for approaching visitors. New creative paths are opened by installations, a new kind of public sculpture, happenings, and performance art with the incorporation of new technologies.

  • Contemporary stage codes and formats (12h). Jordi Duran

Today, street arts are present worldwide. Although it is a very uneven presence, with varying degrees of recognition. Its objectives can also be very different. Street arts are linked to the celebration and commitment to freedom and reclaiming public space from the creation or the democratization of access to culture. But they are also an important economic driver and an advertising instrument or for social cohesion that many institutions have taken advantage of for many years. Between the Olympics and an outdoor show during a town's festival, there is a scale of infinite shades.

  • Foundations of dramatic composition (12h). Esteve Soler

This course is designed as an introduction to the concept of drama. It is also a course that focuses on writing a show beyond stage categories, while the main distinctive features of street arts for building a story are incorporated: the relationship with the exhibition space, the public and the ability to cross specific cultural contexts.

  • Urban drama 1 (12h). Ernesto Collado

Space is the main subject of this drama course. The dramatic space and its options, generating stories. Widgets that produce stories or plots extracted or presented in historic buildings or rather materials produced with the aim of rediscovering our everyday environment.

  • Urban drama 2 (16h). Ricard Soler

Writing street theatre? What tradition exists? What value do we give to texts born to explain history within a city? Why are street performances registered in France and here we are not even aware that we are writing theatre? In the sessions that must occupy this space we try to resolve some of these questions. Others will lead to more questions. And apart from that, we also write a lot.

  • Stage practice 1: performative arts (16h). Simona Levi

Put a toilet in a museum and it will turn into art. Put it on the street and it will become garbage. The main objective of this workshop is to investigate possible relational dynamics between contemporary visual arts and public space, questioning concepts such as process, context or outcome.

  • Stage practice 2: space (16h). Marga Socias

The city is like a skin, made of traces, layers and secrets that we all have been drawing. That is to say from the standpoint of the history of art, sociology, urban anthropology, it deals with a lush area, full of information that we often ignore when we think about public spaces. The aim of this practice is to provide students with tools to be able to decipher this heritage collectively and turn it into a stage course.

  • Stage practice 3: acting work (16h). Sergi Estebanell

The body, the voice, the presence of an actor on stage is quite far from what the public demands. The protection that the black box offers disappears and it is necessary to take charge of theoretical tools and lots of practice to be able to adapt to a different environment. This workshop is designed to adjust the interpretative experience of the students, whatever it may be, to a balanced and specific dialogue that street arts demand among the technique of the actor, urban space and public space.

  • Organisation and design of projects II (4h). Oriol Martí