TITLE
Ana Moreno
START & COMPLETION DATES
1987-2011
DESCRIPTION LEVEL
Fond
VOLUME
1 box
7 audiovisual documents
1 book
PRODUCER
Ana Moreno Lecumberri
BIOGRAPHICAL NOTE
Nace en Caparroso, aunque su familia reside en Hernani. Desde muy joven sintió fascinación por el movimiento, en un principio a través de la gimnasia, llegando a participar en algunos campeonatos.
A principios de la década de los 70, conoce a la pareja José Láinez y Concha Martínez a través de un amigo y fue su primer contacto con la danza. Asistió a un ensayo de la recién creada compañía Anexa, una de las primeras compañías de danza contemporánea de España, y, a partir de ahí, comenzó su acercamiento a la danza incorporándose a la compañía. José Láinez y Concha Martínez resultan fundamentales en el desarrollo de Ana Moreno en la danza.
Durante los ensayos de Akelarre conocen a Albert Boadella quien les invita a presentar su espectáculo en Barcelona. La acogida fue tan buena que la compañía se traslada a Barcelona, actuando en un espacio destinado a teatro independiente y teniendo como local de ensayos el Institut del Teatre.
José Láinez, profesor del Institut del Teatre de Barcelona, cuenta con Ana Moreno como asistente.
Pascual Aldabe, director del Conservatorio Pablo Sarasate, ofrece a Láinez encargarse del área de danza del centro, al que inmediatamente se incorpora Ana Moreno. Se inicia un nuevo periodo de desarrollos de nuevos proyectos y nuevas producciones, de las que terminará naciendo una nueva compañía, Yaukari, donde Ana Moreno se encargaba de la gestión, adquiriendo el papel de bailarina ocasionalmente.
Ante las pocas posibilidades de espacio que ofrecía el antiguo edificio del Conservatorio (situado en la calle Aoiz) y con la declaración de oficialidad de los estudios de danza que se impartían en Navarra, la escuela de danza sufre varios traslados, hasta la inauguración en la actual situación (calle Tajonar), responsabilidad que asume Moreno como directora de la Escuela de Danza de Navarra tras la jubilación de Láinez.
Bajo su dirección puso en marcha nuevas propuestas para que los alumnos pudieran desarrollar todo los conocimientos adquiridos de forma práctica, actuando en diferentes espacios escénicos de Navarra. Ana Moreno ocupó la dirección hasta el año 2011.
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ARCHIVAL HISTORY
Al tratarse de una personalidad en plena actividad, la donación se articula en fases. La primera, con la que se ha creado el Fondo Ana Moreno en el Archivo de Navarra, ingresó agosto de 2019.
CONTENTS
El fondo cuenta con documentación relativa a la actividad profesional de Ana Moreno como bailarina, gestora, profesora y directora de la Escuela de Danza de Navarra. Encontramos programas de mano, correspondencia, carteles y audiovisuales.
TERMS AND CONDITIONS OF ACCESS AND REPRODUCTION
The documentation is accessible to the public in person at the facilities of the Royal and General Archive of Navarre.
Consultation and reproduction are subject to the provisions of Resolution 373/2013 of 9 December, of the General Director of Culture - Institución Príncipe de Viana, approving the Internal Rules for Access, Consultation and Reproduction of Documents from the Archivo Real y General de Navarra.
The reproduction of works that are not in the public domain shall only be possible when this is for the private use of the person making the request and solely for research purposes, in accordance with the provisions of Royal Legislative Decree 1/1996 of 12 April approving the Revised Text of the Intellectual Property Law, regularising, clarifying and harmonising the legal provisions in force on the matter.
Article 10. Original Titles and Works.
1. All original literary, artistic and scientific creations expressed by any means or media, tangible or intangible, currently known or that will be invented in the future are protected by copyright. These include:
- Books, leaflets, forms, correspondence, writing, speeches and discourses, lectures, forensic reports, chair speeches and any other work of the same nature.
- Musical compositions, with or without lyrics.
- Dramatic works, musicals, choreography, mime and, plays in general.
- Cinematographic works and any other audiovisual works.
- Sculptures; drawings, paintings, engravings, lithography; cartoons and comics; their preparatory work and sketches, and other plastic work, whether applied or not.
- Projects, drawings, models and designs of architectural and engineering works.
- Graphics, maps and designs relating to topography, geography and science in general.
- Photographic works and other procedures that are similar to photography.
- Computer software.
2. The title of a work will be protected as part of the work, provided that it is original.
Article 37. Reproduction, lending and consultation of works through specialised terminals in certain establishments.
1. Copyright holders cannot object to the reproduction of works, when this is a not-for-profit activity by museums, libraries, record libraries, film libraries, newspaper libraries, publicly-owned archives or archives that are part of cultural or scientific institutions and provided that the reproduction is solely made for research or conservation purposes.
2. Likewise, museums, archives, libraries, newspaper libraries, record libraries and film libraries that are either publicly owned or are part of not-for-profit organisations of general cultural, scientific or educational interest integrated in the Spanish educational system, shall not require the authorisation of the copyright holders for any loans made.
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Furthermore, due to the uniqueness of the documents in the fond, consultation and reproduction will be determined by Constitutional Law 1/1982 of 5 May on the Protection of the Civil Right of Honour, Personal and Family Privacy and Self-image.
Article Four.
One. The exercise of the actions relating to the civil protection of the right to Honour, Privacy and Self-image of a deceased person corresponds to the person appointed for this purpose in the will. A legal person may be appointed for this purpose.
Two. Should there be no appointment or if the person named is deceased, then the spouse, descendants, ascendants and siblings of the person affected and who were living at the time of his/her death, shall have the right to seek protection.
Three. In the absence of all of these, the exercise of protection actions shall correspond to the Public Prosecutor, who may act ex-officio at the request of the person in question, provided that no more than eighty years have elapsed since the death of the person concerned. The same period of time shall be observed when the exercise of the aforementioned actions corresponds to a legal person appointed in the will.
Four. In the event of unlawful interference in the rights of the victims of a crime, as referred to in section eight of article seven, the party injured or offended by the offence committed shall have the right to exercise the protection actions, regardless of whether or not the said party brought the criminal or civil action in the preceding criminal proceedings. In any event, the Public Prosecutor will also be entitled to do so. In the event of death, the parties shall abide by the provisions of the sections above. (…)
Article seven.
The following shall be considered unlawful interference in the area of protection delimited in article two of this Law:
(…)
Three. The disclosure of facts relating to the private life of a person or family that affect its reputation and good name, as well as the disclosure or publication or the contents of letters, memoirs or other personal writing of an intimate nature.
Four. The disclosure of private details about a person or family, obtained through the professional or official activity of the person disclosing them. (…)
Seven. The accusation of deeds or showing value judgements through actions or expressions that, in any way, harm the dignity of the other person, by undermining his/her reputation or attacking his/her self esteem. (…)
Article eight.
One. In general, actions that are authorised or agreed by the competent Authority in accordance with the Law shall not be considered to be unlawful interference, or when a relevant historical, scientific or cultural interest is predominant.
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DESCRIPTIVE INSTRUMENTS
Inventory
RELATED DESCRIPTIVE UNITS
Conservatorio Pablo Sarasate
Escuela de Danza de Navarra
José Láinez Díez & Concha Martínez Nicolás
SUPPLEMENTARY DOCUMENTATION
Interview
PUBLICATIONS NOTE
News of the donation
DESCRIPTORS
Danza, Siglo XX, Siglo XXI, Balarín/a, Profesor/a, Gestor/a de danza.