{"id":3192,"date":"2025-02-12T15:35:06","date_gmt":"2025-02-12T15:35:06","guid":{"rendered":"https:\/\/girbaulab.com\/ovidio-cenera-teatro-real-de-madrid\/"},"modified":"2026-02-13T10:45:59","modified_gmt":"2026-02-13T10:45:59","slug":"ovidio-cenera-teatre-real-de-madrid","status":"publish","type":"post","link":"https:\/\/girbaulab.com\/ca\/ovidio-cenera-teatre-real-de-madrid\/","title":{"rendered":"\u00abEn vestuari teatral no tirem res, perqu\u00e8 absolutament tot pot reutilitzar-se\u00bb"},"content":{"rendered":"<p>Ovidio Ce\u00f1era va arribar a Madrid amb dinou anys i el somni de convertir-se en actor professional. El seu talent li va permetre cursar els seus estudis a la Real Escuela Superior de Arte Dram\u00e1tico y Danza de Madrid i exercir diversos papers com a actor durant les d\u00e8cades dels 80 i 90. Per\u00f2 el dest\u00ed, i les capacitats que va veure en ell el seu professor i acad\u00e8mic Francisco Nieva, el van portar a especialitzar-se en vestuari i a convertir-se en el cap del departament de vestuari i caracteritzaci\u00f3 del <a href=\"https:\/\/www.teatroreal.es\/es\" target=\"_blank\" rel=\"noopener\">Teatre Real de Madrid.<\/a><\/p>\n<p>Avui, en el cicle d\u2019entrevistes que estem realitzant juntament amb Girbau LAB, conversem amb Ovidio per con\u00e8ixer com es gestiona el t\u00e8xtil en un sector on es genera molt vestuari, sovint molt cost\u00f3s, per\u00f2 tamb\u00e9 amb una vida, aparentment, molt ef\u00edmera.<\/p>\n<p><strong>\u2013 Ovidio, en qu\u00e8 consisteix la feina del departament de vestuari i caracteritzaci\u00f3 d\u2019un teatre com el Teatre Real?<\/strong><\/p>\n<p>La nostra feina i, per tant, la nostra missi\u00f3, \u00e9s aconseguir que totes les produccions comptin amb el vestuari i la caracteritzaci\u00f3 id\u00f2nia per crear la narrativa i l\u2019est\u00e8tica esperades, adequant-se als requisits del figurinista, del director i al pressupost, \u00e9s clar.<\/p>\n<p>Nosaltres podem llogar una producci\u00f3, coproduir amb altres teatres o produir-la en solitari. Si es tracta d\u2019una producci\u00f3 pr\u00f2pia o d\u2019una coproducci\u00f3 que liderem (som el primer teatre dels coproductors que posem l\u2019obra en peu i l\u2019estrenem), hem de fer tota la feina des de zero: confeccionar, comprar, ambientar, provar, arreglar, i entendre b\u00e9 qu\u00e8 es vol transmetre. Un cop finalitza la producci\u00f3, cal inventariar i emmagatzemar tot el vestuari i realitzar un dossier fotogr\u00e0fic i descriptiu perqu\u00e8 quan la producci\u00f3 viatgi a altres llocs, l\u2019equip de vestuari i caracteritzaci\u00f3 entengui en qu\u00e8 consisteix i qu\u00e8 hem de fer amb tot el material rebut.<\/p>\n<p>\u00d2bviament, dep\u00e8n de nosaltres la materialitzaci\u00f3 de totes aquestes peces, perruques i altres complements.<\/p>\n<p>Si, en canvi, es tracta d\u2019una coproducci\u00f3 que no liderem o d\u2019una \u00f2pera llogada, la feina \u00e9s m\u00e9s o menys la mateixa, per\u00f2 amb la difer\u00e8ncia que ja rebem un vestuari i uns complements que hem d\u2019adaptar al repartiment que hi ha en el nostre teatre: entendre com utilitzar-lo, assegurar que la tallatge s\u2019adapta als nostres actors i actrius, fer els vestits nous si cal i tamb\u00e9 reparar tot all\u00f2 que pugui estar deteriorat.<\/p>\n<p>Nom\u00e9s en el departament de vestuari i caracteritzaci\u00f3 som 70 persones treballant.<\/p>\n<p><strong>\u2013 Quants vestits pot portar una producci\u00f3?<\/strong><\/p>\n<p>Una producci\u00f3 petita pot tenir al voltant de 40 o 50 vestits. Una producci\u00f3 normal, uns 200. I hem tingut produccions de 500 peces com poden ser Els mestres cantaires de Nuremberg o Carmen.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p>\u201cNom\u00e9s en el departament de vestuari i caracteritzaci\u00f3 som 70 persones treballant\u201d.<\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><strong>\u2013 En les produccions pr\u00f2pies o que lidereu, el vestuari el confeccioneu tot internament o externalitzeu el servei?<\/strong><\/p>\n<p>Hi ha de tot i dep\u00e8n del tipus de vestuari. Quan confeccionem el vestuari, comprem les teles en f\u00e0briques, magatzems o botigues, depenent de la tela que el figurinista tri\u00ef. I, segons el tipus de vestuari o del volum de feina que tinguem en aquell moment, tamb\u00e9 contractem tallers externs, que poden ser des de grans superf\u00edcies a tallers petits, amb els quals normalment col\u00b7laborem. Per\u00f2 sempre que podem, confeccionem en el nostre taller.<\/p>\n<p>Tamb\u00e9 sovint comprem peces b\u00e0siques en botigues convencionals i despr\u00e9s les customitzem. I, per descomptat, fem molt \u00fas de la segona m\u00e0. Per\u00f2 el que m\u00e9s fem \u00e9s utilitzar el material que tenim en estoc als nostres magatzems. Tenim una sala de teles que \u00e9s un tresor i tamb\u00e9 en surten teixits que no es van utilitzar quan es van comprar, per\u00f2 que reutilitzem sempre que \u00e9s necessari i la producci\u00f3 ho requereix.<\/p>\n<p><strong>\u2013 Quan parles d\u2019estoc, et refereixes als sobrants de les produccions?<\/strong><\/p>\n<p>No, les peces que s\u00f3n d\u2019una producci\u00f3, per\u00f2 que per talla o per qualsevol altra ra\u00f3 no s\u2019han utilitzat, normalment es queden en aquella producci\u00f3 per si la tornem a posar en escena o viatja a un altre teatre.<\/p>\n<p><strong>\u2013 I llavors, qu\u00e8 hi ha a la sala de teles?<\/strong><\/p>\n<p>Tot el material adquirit per fer una producci\u00f3, per\u00f2 que finalment ha quedat descartat. Hi ha aut\u00e8ntics tresors i sempre intentem donar-los sortida a trav\u00e9s de les noves produccions.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p>\u201cCada pe\u00e7a mereix una cura especial\u201d.<\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><strong>\u2013 Fins quan es guarda una producci\u00f3?<\/strong><\/p>\n<p>Fins que es considera que ja no t\u00e9 vida, com nosaltres diem. Quan arriba el moment d\u2019eliminar-la o destruir-la, no llencem res, perqu\u00e8 absolutament tot es pot reutilitzar en noves produccions o fins i tot per als assajos.<\/p>\n<p><strong>\u2013 Quina \u00e9s la pe\u00e7a que m\u00e9s s\u2019ha utilitzat?<\/strong><\/p>\n<p>No s\u00e9 si \u00e9s la m\u00e9s utilitzada, per\u00f2 les enagos que es fan servir a la majoria dels assajos del Teatre Real s\u00f3n unes enagos que es van confeccionar per a la producci\u00f3 de Divinas Palabras, que va interpretar Pl\u00e1cido Domingo el 1997, coincidint amb la reobertura del teatre. S\u2019han tenyit diverses vegades i s\u2019han utilitzat fins a la sacietat, per\u00f2 aqu\u00ed segueixen, gaireb\u00e9 com el primer dia.<\/p>\n<p><strong>\u2013 Quin \u00e9s el secret perqu\u00e8 les peces durin tant de temps?<\/strong><\/p>\n<p>La qualitat de la pe\u00e7a \u00e9s fonamental. No acostumem a comprar roba cara, per\u00f2 s\u00ed que busquem la qualitat, prioritzant els teixits naturals. Per\u00f2, sobretot, \u00e9s clau com es cuiden.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p>\u201cPer treure la mala olor de la roba, el millor \u00e9s el vodka dilu\u00eft en una mica d\u2019aigua\u201d.<\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><strong>\u2013 Segur que teniu molts trucs per mantenir la roba en perfecte estat. Ens en pots compartir algun?<\/strong><\/p>\n<p>S\u00ed! Per treure la mala olor de la roba, el millor \u00e9s el vodka dilu\u00eft en una mica d\u2019aigua. Ens ho va explicar fa anys una companyia russa que anava de gira durant mesos i actuava en llocs on no es podia rentar la roba com cal. Funciona molt b\u00e9!<\/p>\n<p><strong>\u2013 I com guardeu i feu el manteniment de les produccions perqu\u00e8 la roba no es faci malb\u00e9?<\/strong><\/p>\n<p>Disposem de naus immenses als afores de Madrid, a Arganda del Rey. Com que hi ha molta humitat, \u00e9s imprescindible guardar b\u00e9 les produccions. Mai guardis roba sense netejar, perqu\u00e8 pot tenir bacteris que la podreixin.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p>\u201cMai guardis roba sense netejar, perqu\u00e8 pot tenir bacteris que la podreixin\u201d.<\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><strong>\u2013 \u00c9s la sostenibilitat una prioritat en el sector de les arts esc\u00e8niques?<\/strong><\/p>\n<p>Al Teatre Real s\u00ed. Tot l\u2019equip \u00e9s molt conscient de la import\u00e0ncia de cuidar les coses, reutilitzar-les i comprar amb cap. A m\u00e9s, \u00e9s un tema d\u2019efici\u00e8ncia. Les produccions solen ser molt cares i \u00e9s imprescindible estalviar costos, reaprofitar, fer intercanvis, etc.<\/p>\n<p>Des d\u2019un punt de vista m\u00e9s global, s\u2019estan fent molts esfor\u00e7os per millorar l\u2019efici\u00e8ncia ambiental de les produccions i del mateix teatre. Sense anar m\u00e9s lluny, aquest 2024 hem rebut el premi a la millor actuaci\u00f3 d\u2019efici\u00e8ncia energ\u00e8tica i sostenibilitat de l\u2019Associaci\u00f3 d\u2019Empreses d\u2019Efici\u00e8ncia Energ\u00e8tica (A3E), per unes millores que s\u2019estan duent a terme a l\u2019edifici. A poc a poc, intentem fer-ho millor cada vegada.<\/p>\n<p>Aquesta entrevista forma part d\u2019un espai de debat impulsat per Girbau LAB i So Good So Cute, que busca generar reflexi\u00f3 i aportar llum a aspectes essencials de la circularitat en la ind\u00fastria t\u00e8xtil. <a href=\"https:\/\/girbaulab.com\/ca\/cultura\/converses-sobre-circularitat-textil\/\" target=\"_blank\" rel=\"noopener\">Veure altres articles publicats.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ovidio Ce\u00f1era va arribar a Madrid amb dinou anys i el somni de convertir-se en actor professional. El seu talent li va permetre cursar els seus estudis a la Real Escuela Superior de Arte Dram\u00e1tico y Danza de Madrid i exercir diversos papers com a actor durant les d\u00e8cades dels 80 i 90. Per\u00f2 el [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":3183,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"class_list":["post-3192","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noticies"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u00abEn vestuari teatral no tirem res, perqu\u00e8 absolutament tot pot reutilitzar-se\u00bb - Girbau LAB<\/title>\n<meta name=\"description\" content=\"Entrevista a Ovidio Ce\u00f1era, cap del departament de vestuari i caracteritzaci\u00f3 del Teatre Real de Madrid.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/girbaulab.com\/ca\/ovidio-cenera-teatre-real-de-madrid\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00abEn vestuari teatral no tirem res, perqu\u00e8 absolutament tot pot reutilitzar-se\u00bb - 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