Núm. 1 (2022)
Permanent URI for this collectionhttp://54.81.141.168/handle/123456789/202710
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DOSSIER: Artes escénicas y generación de diálogo en tiempos de crisis
DOSSIER: Entrevista
DOSSIER: Reseña
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Item Metadata only Para vivir mañana todavía: Reconfiguraciones de la mirada y la memoria en el proceso de creación presencial y virtual de Aliento y Vacío.(Pontificia Universidad Católica del Perú, 2022-11-02) Medina Hú, Lucero; Velarde Chainskaia, Cristina NataliThe collective creation in performing arts presents new challenges in virtuality. Intermedials creations propose the reorganization of the creative processes, of the body and the gaze of the performing artists. Based on the situated experience of Aliento y vacío, short film, whose process continued in a virtual and individual way due to the pandemic, we analyze the relationships that are established between the performing artist and his creative material in virtuality, taking as references concepts such as body memory, the rewriting of materials and collective weaving. At a methodological level, this work has involved reviewing the documentary material of the research process and conducting interviews with the performing artists. Part of the proposal incorporates the conversations between the authors as devices to generate a co-perception of the experience we analyze as well as the writing process.Item Metadata only Teatro en crisis/Crisis en el teatro(Pontificia Universidad Católica del Perú, 2022-11-02) Benza, RodrigoRustom Bharucha é um estudioso do mundo, e sua maneira de estudá-lo é através do teatro. Tem desenvolvido pesquisas sobre performance cultural através das categorias de intercultural e intracultural (Bharucha, 1993, 2000), história oral, representações tradicionais e, mais recentemente, sobre o fenômeno do terror em relação à performance (Bharucha, 2014). Durante os dois primeiros anos da pandemia, produziu uma videoconferência de 9 capítulos intitulada Theatre and the Coronavirus sobre diferentes aspectos da pandemia em relação à prática teatral e performática. Este vídeo foi produzido pelo International Research Center/Interweaving Performance Cultures, Berlim, Alemanha. Mais recentemente, ele publicou um longo ensaio intitulado The Second Wave: Reflections on the Pandemic through Photography, Performance and Public Culture (2022).Item Metadata only Expectatorialidad, expectación, expectaciones, transexpectación(Pontificia Universidad Católica del Perú, 2022-11-02) Dubatti, JorgeIn this article, from the Philosophy of Theater, a set of concepts is proposed to problematize the complexity of the action/event of expectation. Based on the Aristotelian distinction (Metaphysics) between close gender and specific difference, it is argued that "expectatoriality" is the condition that crosscuts various practices of expectation (artistic, social, trans-theatrical) founded on a common matrix of theatricality (understood as organization of the gaze of the other). It is also affirmed, from a pluralistic view, that there are "expectations" that imply different characteristics. Finally, we reflect on the pedagogies of expectatory events and their relationship with the knowledge of experience and time.Item Metadata only Nuestro contemporáneo Óscar Liera:(Pontificia Universidad Católica del Perú, 2022-11-02) Velázquez Hernández, Santos JavierThis article approaches three "political" plays by playwright Óscar Liera, El jinete de la Divina Providencia (1985), Los caminos solos (1987) and Camino rojo a Sabaiba (1988), from a cultural history perspective. Based on the concept of "representation", we study how the author created a social identity through his works, interviews, and public letters, to confront to authoritarianism of the State in the eighties in Mexico. Through the genre of farce, with topics such as social justice, political corruption or cacicazgo, he set out to create citizenship in the spectator/reader. His works are the positioning of an intellectual in the public space, and whose ethical resistance is indispensable even in the scenario of Latin American democracy.Item Metadata only Bailar sobre los escombros: colectivizando el luto, compartiendo el dolor(Pontificia Universidad Católica del Perú, 2022-11-02) Bonomini Martínez, SandraThis article deals with the dialogue and discussion with the performance Insufflation of a Chronic Death by the Women in Quarantine project, São Paulo, Brazil, presented in 2020 during the Covid-19 pandemic. The notions of collectivity and care are highlighted as attributes that, both in art and in life, can contribute by helping us transform pain and think radically about a possible re-existence. Based on counter-hegemonic feminist perspectives and the assessment of one's own experience as knowledge, the author's performance and autobiographical accounts are proposed as micropolitical spaces of resistance and possibility in the face of the situation of precariousness, uncertainty, and violence after the pandemic period in Brazil. Starting from the need to share pain and to collectivize mourning, this creation process is suggested as an anti-capitalist space-time and an enabler of returning life to its status of a dignified life.Item Metadata only El Teatro Bunraku:(Pontificia Universidad Católica del Perú, 2022-11-02) Brazhnikova Tsybizova, ViolettaThe 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.Item Metadata only Comunidades temporales de artistas de performance:(Pontificia Universidad Católica del Perú, 2022-11-02) Pagnes (VestAndPage), AndreaThis article addresses the case model for the Live art exhibition project Venice International Performance Art Week, founded and curated by artist duo VestAndPage (Verena Stenke and Andrea Pagnes) in 2012. Since its inception, it has promoted performance art and Live art practices on a local, national, and international scale through live performance events, exhibitions, formative learning programs, and co-creation experiences. Founded on the principles of sustainability, hospitality, and care, it has become a recognized international platform where dialogue and exchange, artistic expressions and cultures can flourish proactively among performers. The project formats have evolved over the time, progressively focusing on forming temporary performance artist communities in terms of a social sculpture. Its core mission is to foster exchange among performers, Live artists, and people: a gathering reunion, a people’s project made by the people for the people. It functions as a think-tank for outlining conceptual visions which declaredly overcome imposed and external human conditioning, generating accretive reflection on topics such as poetic and civil sovereignty, inclusiveness, and accessibility through performance practices. As the project founders, we have also conceived it as a breeding ground for future professional opportunities of the participating artists, curators, and cultural operators, as well as a means to broaden the audience for performance art and Live art, both locally and internationally. The Venice International Performance Art Week has now adapted into an experiential co-creation artist-in-residence format. This enables to expand performance art and Live art beyond works of presentation and display, focusing instead on real time co-creation of interdisciplinary collective productions.Item Metadata only La presencia del sikuri metropolitano en las protestas de noviembre del 2020 y dos de sus melodías(Pontificia Universidad Católica del Perú, 2022-11-02) Serrano Finetti, Francisco JavierThis article provides a brief description of the practice of siku and its “artivism” during the demonstrations that occurred in Lima during the month of November 2020. The transcription and analysis of two musical products of their activity will be carried out. The scores below will also allow us to appreciate the melodic movement of the voice (similar to that performed by the sikus) and the bass drums. The lyrics will shed light on the values they transmit in their speech and the musical analysis will give an idea of how they manage to keep the attention of the listening public if we consider some characteristics of the instrument.Item Metadata only La poética y política de la empatía: el teatro como educación(Pontificia Universidad Católica del Perú, 2022-11-02) Prentki, TimThis article is built upon the premise that there is an urgent need to create a kinder, more cooperative world in order to address the crises which threaten to destroy it. The key component in this enterprise is empathy, and theatre can play a major role in training young people in the exercise of empathy. Recent developments in neuroscience (Bråten, 2007; Damasio, 1994; Denes, 2016; Singer Lamm, 2009; Stamenov Gallese, 2002) have demonstrated that the human brain’s capacity for empathy can be strengthened by frequent use. In addition, the discovery of so-called mirror neurons has revealed the extent to which the operation of our brains reflects the way in which theatre is also conceived. We are in a state of constant dialogue with ourselves and, due to the way mirror neurons stimulate us when we observe the actions and words of others, we respond like theatre audiences. Given this new scientific data, I propose that curricula in formal education need to be reconceived to take account of neurological understandings, resulting in the placing of drama processes/methodologies at their core.Item Metadata only El “cuerpo-marioneta” en el teatro japonés(Pontificia Universidad Católica del Perú, 2022-11-02) Do Valle, Scarlett SiqueiraThis 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.