EXHIBITION STORIES NOT TO FORGET. CHICO IBÁÑEZ SERRADOR
Alejandro Ibáñez Nauta, son of one of the emblematic figures in the audiovisual communication world, has organized this exhibition, curated by Carlos Urrutia and featuring Diego Barrero as director of photography.
The exhibition reviews his theatrical and cinematographic work, his beginnings in the art of interpretation, and merchandise from ‘Un, Dos, Tres… responda otra vez’ (One, Two, Three… answer again), his most popular legacy.
It includes unreleased photographic material, with never-before-seen photographs from his first film, ‘La Residencia’ (The Residence), and costumes created by Vitín Cortezo, one of the best costume designers in the history of Spanish cinema and theatre.
The First Deputy Mayor of the City Council, Ana Suárez, and the Councillor for Tourism, Fernando Castaño, attended today at the Museum of Commerce and Industry of Salamanca the inauguration of the exhibition ‘Historias para no olvidar’ (Stories Not to Forget), a tribute to Narciso ‘Chicho’ Ibáñez Serrador. Chicho’s son, Alejandro Ibáñez Nauta, a film director, organized this exhibition, curated by Carlos Urrutia and featuring Diego Barrero as director of photography.
The exhibition pays tribute to the personal and professional career of Narciso Ibáñez Serrador, one of the emblematic figures in audiovisual communication that this country has had over the last fifty years.
The exhibition tour has been divided into three rooms: the first is dedicated to his theatrical and cinematographic work. The second brings us closer to the person, showing his beginnings in the art of interpretation and his first scripts. And the third room showcases what was his most popular legacy working for Televisión Española: the game show ‘Un dos, tres… responda otra vez’.
‘Historias para no olvidar’ offers a journey from his beginnings in theatre alongside his mother, Pepita Serrador, his first original text ‘Obsesión’ (Obsession), recently found and restored (it was believed to be lost), unreleased photographs from his adolescence, as well as his first professional actor’s card.
The unreleased photographic material plays a fundamental role in the exhibition. Display cases with never-before-seen photos from his first film ‘La Residencia’ (1969), hand programs from it, as well as costumes created by Vitín Cortezo, one of the best costume designers in the history of Spanish cinema and theatre.
“Quién puede matar a un niño” (Who Can Kill a Child?), Chicho's second film in 1976, also has a place of honor with its original script which curiously does not have the same title as the film.
To speak of Narciso Ibáñez Serrador is to speak of the most important game show in TVE's history. ‘Un, Dos, Tres… responda otra vez’ is linked not only to Chicho’s career, but also to several generations who discovered new worlds through the show, enjoyed the comedians, watched never-before-seen musical performances, and shouted when contestants won the car, the apartment… or 100,000 wooden clothespins!
In the exhibition “Historias para no olvidar” (Stories Not to Forget), we will be able to discover all the merchandise from this emblematic game show throughout its history, starting in 1972 and ending in its last stage in 2004, original costumes from various programs, 10 Stages, 411 programs that accompanied us throughout our lives.
Additionally, a fourth space has been set up where various documentaries are projected, featuring interviews with film and theatre personalities remembering Chicho Ibáñez Serrador and his work.
The exhibition, which comes to Salamanca on the initiative of Salamanca Film Commission and Prointel, the production company founded by the honoree and now directed by his son Alejandro, will be open to the public until October 31st.
Emblematic Figure
Born in Uruguay to actor parents, he who seemed destined to be just another stage figure settled in Spain and went much further: all the fields he collaborated in were transformed by his passage. Narciso Ibáñez Serrador was an sporadic playwright on stage, but always prominent (‘Aprobado en inocencia’ (Approved in Innocence), ‘El águila y la niebla’ (The Eagle and the Fog)...), though in reality he never stopped writing a single day or a single night: for television, for cinema, for magazines... He read more than anyone, directed more than anyone, and always conveyed the feeling that there was still much more to do, that he still had much more to contribute to us.
He brought the most elevated fantasy (Poe, Bradbury, Twilight Zone) to television with his 'Historias para no dormir' (Stories to Keep You Awake), thereby boosting a whole generation of young genre writers in our country (Buiza, Garci, Tébar, Plans) who found in him the support to become known.
He delved into terror on the big screen, and in an eclectic way gave us some of the masterpieces of Spanish cinema, such as ‘La Residencia’ (The Residence) and ‘¿Quién puede matar a un niño?’ (Who Can Kill a Child?). And he knew how to show us that the small screen was the ideal place for experimentation and fun, hand in hand, and for the education of the viewer himself.
Pioneering programs like ‘Waku Waku’ or ‘Hablemos de sexo’ (Let's Talk About Sex) were conceived to entertain and inform children and adults; ‘El semáforo’ (The Traffic Light) humorously explored the possibilities of live shows for new talents.
And ‘Un, Dos, Tres…’ was the magnum opus in which everything could fit and did fit (game show, comedy, musical, interaction), an unmissable event for all of Spain, which saw in that mythical program deposited suspense, fun, and hope.
These are just some of the most notable examples of an entire existence dedicated to the viewer, to invention in the service of society and its betterment, to the flight of creative imagination and authorship at its best.
The exhibition reviews his theatrical and cinematographic work, his beginnings in the art of interpretation, and merchandise from ‘Un, Dos, Tres… responda otra vez’ (One, Two, Three… answer again), his most popular legacy.
It includes unreleased photographic material, with never-before-seen photographs from his first film, ‘La Residencia’ (The Residence), and costumes created by Vitín Cortezo, one of the best costume designers in the history of Spanish cinema and theatre.
The First Deputy Mayor of the City Council, Ana Suárez, and the Councillor for Tourism, Fernando Castaño, attended today at the Museum of Commerce and Industry of Salamanca the inauguration of the exhibition ‘Historias para no olvidar’ (Stories Not to Forget), a tribute to Narciso ‘Chicho’ Ibáñez Serrador. Chicho’s son, Alejandro Ibáñez Nauta, a film director, organized this exhibition, curated by Carlos Urrutia and featuring Diego Barrero as director of photography.
The exhibition pays tribute to the personal and professional career of Narciso Ibáñez Serrador, one of the emblematic figures in audiovisual communication that this country has had over the last fifty years.
The exhibition tour has been divided into three rooms: the first is dedicated to his theatrical and cinematographic work. The second brings us closer to the person, showing his beginnings in the art of interpretation and his first scripts. And the third room showcases what was his most popular legacy working for Televisión Española: the game show ‘Un dos, tres… responda otra vez’.
‘Historias para no olvidar’ offers a journey from his beginnings in theatre alongside his mother, Pepita Serrador, his first original text ‘Obsesión’ (Obsession), recently found and restored (it was believed to be lost), unreleased photographs from his adolescence, as well as his first professional actor’s card.
The unreleased photographic material plays a fundamental role in the exhibition. Display cases with never-before-seen photos from his first film ‘La Residencia’ (1969), hand programs from it, as well as costumes created by Vitín Cortezo, one of the best costume designers in the history of Spanish cinema and theatre.
“Quién puede matar a un niño” (Who Can Kill a Child?), Chicho's second film in 1976, also has a place of honor with its original script which curiously does not have the same title as the film.
To speak of Narciso Ibáñez Serrador is to speak of the most important game show in TVE's history. ‘Un, Dos, Tres… responda otra vez’ is linked not only to Chicho’s career, but also to several generations who discovered new worlds through the show, enjoyed the comedians, watched never-before-seen musical performances, and shouted when contestants won the car, the apartment… or 100,000 wooden clothespins!
In the exhibition “Historias para no olvidar” (Stories Not to Forget), we will be able to discover all the merchandise from this emblematic game show throughout its history, starting in 1972 and ending in its last stage in 2004, original costumes from various programs, 10 Stages, 411 programs that accompanied us throughout our lives.
Additionally, a fourth space has been set up where various documentaries are projected, featuring interviews with film and theatre personalities remembering Chicho Ibáñez Serrador and his work.
The exhibition, which comes to Salamanca on the initiative of Salamanca Film Commission and Prointel, the production company founded by the honoree and now directed by his son Alejandro, will be open to the public until October 31st.
Emblematic Figure
Born in Uruguay to actor parents, he who seemed destined to be just another stage figure settled in Spain and went much further: all the fields he collaborated in were transformed by his passage. Narciso Ibáñez Serrador was an sporadic playwright on stage, but always prominent (‘Aprobado en inocencia’ (Approved in Innocence), ‘El águila y la niebla’ (The Eagle and the Fog)...), though in reality he never stopped writing a single day or a single night: for television, for cinema, for magazines... He read more than anyone, directed more than anyone, and always conveyed the feeling that there was still much more to do, that he still had much more to contribute to us.
He brought the most elevated fantasy (Poe, Bradbury, Twilight Zone) to television with his 'Historias para no dormir' (Stories to Keep You Awake), thereby boosting a whole generation of young genre writers in our country (Buiza, Garci, Tébar, Plans) who found in him the support to become known.
He delved into terror on the big screen, and in an eclectic way gave us some of the masterpieces of Spanish cinema, such as ‘La Residencia’ (The Residence) and ‘¿Quién puede matar a un niño?’ (Who Can Kill a Child?). And he knew how to show us that the small screen was the ideal place for experimentation and fun, hand in hand, and for the education of the viewer himself.
Pioneering programs like ‘Waku Waku’ or ‘Hablemos de sexo’ (Let's Talk About Sex) were conceived to entertain and inform children and adults; ‘El semáforo’ (The Traffic Light) humorously explored the possibilities of live shows for new talents.
And ‘Un, Dos, Tres…’ was the magnum opus in which everything could fit and did fit (game show, comedy, musical, interaction), an unmissable event for all of Spain, which saw in that mythical program deposited suspense, fun, and hope.
These are just some of the most notable examples of an entire existence dedicated to the viewer, to invention in the service of society and its betterment, to the flight of creative imagination and authorship at its best.