- The talk took place Antonio López Mancera’s time: 100 years and the opening of the exhibition The non-placeat the Cenart Multimedia Center
Within the framework of the centenary of the birth and 30 years of the death of the set designer and creator Antonio López Mancera, the talk was held Antonio López Mancera’s time: 100 years and the opening of the exhibition The non-placeat the Multimedia Center of the National Center for the Arts (Cenart).
Sisu González, Patricia Aspiros, Patricia Ruiz, René Durón and Nellie Happee participated in the conversation in the Aula Magna Jose Vasconcelos del Cenart, organized by the Arts Library—which is celebrating its 30th anniversary—and the National Center for Research, Documentation and Theatrical Information Rodolfo Usigli (Citru), from the National Institute of Fine Arts and Literature (Inbal).
During the talk, the prolific theatrical work of López Mancera was highlighted. Part of his creative legacy was received in 1994 by the Arts Library as a loan, composed of funds and collections from the National Centers for Research, Documentation and Information on the Arts of Inbal.
Antonio López Mancera was born on March 6, 1924 in Mexico City, he suffered poliomyelitis as a child and this brought him physical consequences that did not prevent him from developing his talent. First he was a painter of oil portraits with which he mounted his first exhibition in 1948 and the following year he enrolled in the set design career at the recently created School of Theater Art.
Julio Prieto was his mentor and head of the Inbal Theater Production Department, inheriting the position from 1952 until 1978. This allowed him to design sets, costumes and lighting for dance, theater and opera, his work includes hundreds of productions in his more than four decades of scenographic work, indicated researcher Patricia Ruiz.
The coordinator of Citru, Julieta Rivas, explained that the Fund Antonio López Mancera It is made up of documents generated and compiled by Mancera himself in the exercise of his activities as a set designer, civil servant and teacher, the first document dating from 1948 and the last from 1993, donated by the teacher’s relatives.
For her part, Sisu González, graduate in Dramatic Literature and Theater, explained that when she began working at Citru she became interested in the topic of scenography, whose history in our country would not be complete without Antonio López Mancera.
He added that Mancera learned from Julio Prieto and both had the Palace of Fine Arts as a practice forum. The Scenography School began in a dressing room, where they did practice with what was being produced in the venue at that time.
Set designer Patricia Aspiros said she met the teacher during her student days, when Mancera was already a legend and went to see the students’ stage works. With 24 years as a teacher at the National School of Theater Art, she expressed that it is important for new generations to know the beginnings of scenography from the perspective of this creator.
For his part, the creator and set designer, René Durón, shared some anecdotes with maestro Mancera and explained that he was very lucky to work with him at the Palace of Fine Arts. “Being with him meant learning at all times and meeting all the important people at the festivals and cultural spaces.”
The dancer and choreographer Nellie Happee recalled that Mancera “lived it in the rehearsal rooms of the Palace of Fine Arts, it was his lair, his second home and he was passionate. We were infected with that passion, Toño loved what he did.” She said that the staging Carmina Burana He had the scenery and costumes from maestro Mancera, who proposed this project, which at first Happee did not want to do. “The people around him wanted to work with him, he was so nice and worked in so many branches of art, he was also a great conversationalist,” stressed the teacher and fundamental figure of dance.
Interactive exhibition
The sample Antonio López Mancera. The non-place. 100 years refers to the design, set design, lighting and costume work carried out for the staging of Fidelioby Ludwig van Beethoven, presented at the Palace of Fine Arts in May 1982, with stage direction by Janete Bookspan and musical direction by Eduardo Mata.
It consists of original models and an immersive interactive. In the models you can see the arrows painted red that show the way in which parts of the scenery could rotate. There are also various life-size characters. The public will be able to take a “photocall” with her face, but with the costumes of some of these characters. Additionally, there is a screen that allows attendees to interact with these figures and manipulate the stage lights.
The “non-place” is a term coined by the French anthropologist Marc Augé, to describe those places of transience, spaces in which one lives momentarily, but that generate an experience that remains in the memory. The theater can be considered one of these sites.
The exhibition will remain until April 7 at the Cenart Multimedia Center, at Río Churubusco No. 79, Country Club neighborhood, Coyoacán mayor’s office. Visiting hours, Tuesday to Sunday from 10:00 a.m. to 5:00 p.m.
2024-03-09 21:36:30
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