Mapa y tiempo de los espacios escénicos de Madrid

Abstract

The representation of the scenic spaces -Observatorio de Espacios Escénicos http: //espaciosescenicos.org- in the map of the city of Madrid produces, concentrations and dispersions that we can read as zones, axes or focuses according to the times and the cases. Densities and peculiar systems of settlement and appropriation of places of an activity that can only be explained by superimposing the spatial figures that produce the scenic spaces on the map of the city, the events that occur at each moment. Putting in relation the scenic space and the show with its geography and with its time, with its neighborhood, with the events and with the place that the scenic space contributes to produce. And not only with the place where it sits. Scenic spaces and not theaters because the journey in search of its place initiated by the theater throughout the twentieth century has been so fruitful and profound that any analysis that does not contemplate it in its diversity is immediately invalidated. Because we seek to integrate by pointing out the premises that host, or have hosted, various artistic performances, such as cabaret, poetry and staged music, musicals, dance, circus, movement arts and the thousand and one variants of dramaturgies of the image and performances. Would we understand the impact on the people of Madrid of the theater of La Fura des Baus in the year 85 without the old funerary of the street of Galileo in Madrid? Thus, although we focus on theater and theaters, we will not limit ourselves to them in the strict sense, since we understand that places that nobody would call rooms and less like theaters in the architectural sense of the term have and have had great importance for the history of the theater. theatrical show The singular periods in the scenic activity are inevitably linked to periods in the development of the city and particular social events. The scenic spaces are related to the shape of the city and especially to its particular history. From the theaters without façade that were the first Corrales de Comedias, passing through the Coliseums, Theaters, Circuses, Recreation Gardens, Opera, Theaters by Hours, Independent, National or Varieties to Rehabilitations, Reuses and Alternative Rooms, a path is drawn that as "Every story is a story of travel, a practice of space". (De Certeau, 2000)