Núm. 1 (2022)

Permanent URI for this collectionhttp://54.81.141.168/handle/123456789/202710

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Presentación
  • Artes escénicas y generación de diálogo en tiempos de crisis Tello Malpartida, Aurelio; Hú, Lucero Medina; Benza, Rodrigo; 08-11

    • DOSSIER: Artes escénicas y generación de diálogo en tiempos de crisis
  • Para vivir mañana todavía: Reconfiguraciones de la mirada y la memoria en el proceso de creación presencial y virtual de Aliento y Vacío. Medina Hú, Lucero; Velarde Chainskaia, Cristina Natali; 13-30
  • La poética y política de la empatía: el teatro como educación Prentki, Tim; 31-47
  • Bailar sobre los escombros: colectivizando el luto, compartiendo el dolor Bonomini Martínez, Sandra; 48-68
  • Comunidades temporales de artistas de performance Pagnes (VestAndPage), Andrea; 69-96
  • La presencia del sikuri metropolitano en las protestas de noviembre del 2020 y dos de sus melodías Serrano Finetti, Francisco Javier; 97-110

    • DOSSIER: Entrevista
  • Teatro en crisis/Crisis en el teatro Benza, Rodrigo; 111-124

    • DOSSIER: Reseña
  • José Ignacio López Ramírez Gastón. Este futuro es otro futuro. Lima: Universidad Nacional de Música, 2022, 240 pp. Alvarado Arróspide, Pía; 125-129

    • FLUJO CONTINUO
  • Expectatorialidad, expectación, expectaciones, transexpectación Dubatti, Jorge; 130-138
  • El “cuerpo-marioneta” en el teatro japonés Do Valle, Scarlett Siqueira; 154-166
  • El Teatro Bunraku: Brazhnikova Tsybizova, Violetta; 167-182
  • Nuestro contemporáneo Óscar Liera: Velázquez Hernández, Santos Javier; 183-196

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      El Teatro Bunraku:
      (Pontificia Universidad Católica del Perú, 2022-11-02) Brazhnikova Tsybizova, Violetta
      The object of this research work is one of the three great traditional genres of Japanese theatre, the Bunraku puppet theatre. Throughout this research, it is presented how and where the puppet theatre emerged in Japan, and the reasons why its structure changed substantially in the 18th century are observed. The circumstances surrounding the change of the name of this theatrical genre in the 19th century are also analyzed. As among scholars this theatrical genre is considered one of the sources of the Kabuki theatre, in this article the parallel development during the 17th and 18th centuries of the Bunraku puppet theatre and the Kabuki theatre, in which human performers are involved, is observed. For this reason, in this work both theatrical genres are mentioned and their similarities and the most outstanding differences between them are examined. Likewise, the figure of Chikamatsu Monzaemon, one of the most important playwrights on the Japanese scene, is briefly presented, and his influence in establishing the aesthetic values ​​that continue to govern puppet theater in the 21st century is delved into. Some of the similar manifestations in the field of the performing arts in Spain are also considered, and the influence that the Bunraku theatre has exerted on them is presented.
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      El “cuerpo-marioneta” en el teatro japonés
      (Pontificia Universidad Católica del Perú, 2022-11-02) Do Valle, Scarlett Siqueira
      This article aims to discuss artistic research and discovery on the “puppet-body.” This text contains notes and questions extracted from the author's work diary from the activities of her Study Group. In 2019, this Group, linked to the Master’s Degree of the Escola Superior de Artes Célia Helena (ESCH-SP) examined the resignification of the body of the actor in body-puppet form mainly from the Ningyō buri style of Kabuki, inspired by the Bunraku and the filmed stage show Tambours sur la digue (Drums on the Dam) of the Théâtre du Soleil. In conceptual terms, our work took from Meyerhold, Oida, Kusano, and Greiner.