Núm. 2 (2023)
Permanent URI for this collectionhttp://54.81.141.168/handle/123456789/202711
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Presentación del Dossier
DOSSIER: Prácticas escénicas, escenas de igualdad y mundos en común
DOSSIER: Reseña
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Item Metadata only Escrituras de la intimidad en Romina Paula o una reseña ampliada(Pontificia Universidad Católica del Perú, 2023-11-13) Araudo, LeilénReseña de las obras de Romina Paula: Paula, R. (2020). Archivos de Word. Mansalva. Paula, R. (Directora). (2019). De nuevo otra vez [película]. Varsovia Films. Paula, R. (2013). Fauna. Entropía. Paula, R. (2005). ¿Vos me querés a mí? Entropía.Item Metadata only Sobre la potencia de compartir escenas de igualdad y mundos en común en las artes escénicas(Pontificia Universidad Católica del Perú, 2023-11-13) Marin, Fwala-lo; Sena, Leticia PazNo presenta resumen.Item Metadata only Una coreopolítica por amasar(Pontificia Universidad Católica del Perú, 2023-11-13) Calisto Echeveste, EmiliaHerein are presented some of the results of a larger ethnographic research carried out in the field of contemporary dance, which is circumscribed to what has been named as the southernmost circuit in Montevideo, Uruguay. Inquiries and conclusions are reviewed, particularly the ones about the aesthetic-political potential this dance has when it is pushed to its boundaries and when some inherited choreographic structures are dislocated. Besides, a brief reflection is developed on the possibility of opening ruptured lines, from dance practices to a widened field. The methodology used was ethnographic, it was approached from a phenomenological anthropological perspective and from embodiment. Specifically, the analysis focuses on two choreographic proposals, in which the researcher enactively participated, articulating the register with the concepts micropolitics (Deleuze Guattari, 2004) and choreopolitics (Lepecki, 2016), among others. Conclusions remark that in the cases wherein contemporary dance presents non-policed choreographies, certain practitioners materialize a potential of change, which for others operate just as part of the doxa of the wider dance field.Item Metadata only Imágenes, testimonios y heridas(Pontificia Universidad Católica del Perú, 2023-11-13) Perrone, NicolásThis paper delves into the poetics of Kamar, a theatrical group from La Rioja, Argentina. The analysis shows the aesthetic-political interests that are configured in their productions as part of a politics of the gaze. In this context, we analyze the play Nosotras en el espejo to understand the synthesis of the group's theatrical research in a particular piece. The key analysis of this play revolves around the image of the wound, materialized in a production whose origin is found in testimonies of gender violence. The use of the testimonial theatrical device allows the exploration of a game of mirrors that alters the spectator's passive gaze and transmutes it into an emancipated and active gaze, conjugated in the order of affections and performative action.Item Metadata only El teatro negro contemporáneo como posibilidad de praxis crítica interseccional(Pontificia Universidad Católica del Perú, 2023-11-13) de Andrade Silva, Bianca Camila; Dadico, LucianaSince the Brazilian black theater groups are growing up in cities such as São Paulo and other capitals from Brazil, it becomes necessary to investigate the impact of their productions and organizations in aesthetic, political, and cultural perspectives. In the work of Abdias do Nascimento, black theater used to be proposed as a way to reflect on its identity. This characteristic remains until the present with different demands and prisms. The aim of this paper is to analyze the contemporary play IDA, a work that has the identity as theme for the Brazilian black women, considering identity in its fragmentations and intersections. As a result, it is expected to offer a better understanding of both the political and aesthetic possibilities of contemporary black performing arts, especially in the face of identity disputes as intersectional critical praxis.Item Metadata only Espectáculo O Miolo da Estória(Pontificia Universidad Católica del Perú, 2023-11-13) Silva Da Conceição, Raylson; Costa Ribeiro, Tania CristinaThis work analyzes the Brazilian theatre play, O Miolo da Estória (The Core of the Story), produced by actor Lauande Aires, through an autoethnography with reflections on my own sensory experiences during the reception of this play, which took place in 2013. In this article, we rescue our memories, dialoguing with the studies of the theorists Santaella (2012) and Merleau-Ponty (1999) on perception, Larrosa (2014) on experience, and Michel Serres (2001) on the skin as the boundary between the body and the world. The relevance of this study is supported by the observation of the functioning of the sensorial senses at the moment of theatrical reception. As a conclusion, the work improves the understanding that this play is composed of two worlds that mix the local culture and the theater.Item Metadata only Retrato de intimidad(Pontificia Universidad Católica del Perú, 2023-11-13) Otaño, EstefaníaThis article aims to analyze the stage incarnation of the Argentine monologue script Si te viera tu padre (If your Father Could See You) (2018) by Sofía López Fleming. In this monologue, whose creator is both the playwriter and actress embodying the text on stage, we study, with an analysis of the dramaturgical dimension linked to the scenic event (the encounter with the other), the textual, poetic, discursive, scenic, and performance procedures that express the incarnations of pain: how dramatic bodies speak, words touch the meaning and signify other bodies, generating an erotic and inter-subjective space between the scene and the audience. In this monologue, the female body is presented as a territory in which pain is imprinted. The embodied writing of this dramatic monologue configures a discursiveness that tenses the spectator’s space between I-you, appealing to the shock and resulting in the monologuing I, from intimacy, addressing the viewer, enabling an experience of shared pain, i.e. a collective experience of pain. It is in the embodiment that the dramaturgical practice gains power, testing ways of sharing loneliness, intimacy, pain in a public, convivial, ethical-aesthetic, and political act, and configuring a suffering-together, a community of mourners where to put in common our unique wounds and pains.Item Metadata only El camino del/la dramaturgista(Pontificia Universidad Católica del Perú, 2023-11-13) Hernández Aparicio, Gabriela GuadalupeDramaturgs are often regarded as the first spectators of an artistic production; they are collaborators who watch over the creative process, providing a critical opinion to the rest of the creative team, and in turn, their work. In this light, the tasks they carry out during the creation process of an art piece contribute to observation, documentation, mediation, and research processes, in order to nurture creation. Given the insufficient availability regarding both theoretical and practical references within Latin American territory, this text is an educational contribution, since its aim is to provide methodological tools for young dramaturgs. This paper is based on the following questions: Which collaborators provide research material for a creative process? How is observation possible during the process? Who keeps a record of what is happening? To what purpose? If all creators conduct research, who unifies criteria? How are the dramaturgs’ tasks related to those of their collaborators? Based on these questions, this paper presents a dramaturg-driven work methodology. Thus, the goal is to reveal that the dramaturgs’ vision can foster group work, build up a record, and promote the articulation of critical thinking, in terms of conceptualization, creative consistency, and connection with the audience.Item Metadata only Creación en danza(Pontificia Universidad Católica del Perú, 2023-11-13) Fonseca de Almeida, Renata MaraThis study starts on the discussion about different ways of seeing. To remove the sense of sight out of the daily function to an aesthetic perception of reality, it presents contributions of authors as Merleau-Ponty (1992), Godard (2004), and Blanchot (2001). In a dialectic relation between see and create, it transforms distinct ways of seeing in an impulse to dance creation. The sight, considered through an esthetical and philosophical perspective, independently if it is a blind person or not, puts the creativity on movement. In this way, some experiments based on the relation between see and move, proposed by the author, are described along the text. The conclusion is that the way of seeing, that is to say, someone’s position in relation to the world, is what allows the creation, and not the physiological condition of sight’s sense.Item Metadata only Hacia un estudio del cuerpo y la grupalidad en la formación actoral del teatro independiente de la ciudad de Córdoba (Argentina)(Pontificia Universidad Católica del Perú, 2023-11-13) Yurquina, PauletteThis paper will pose some initial questions for the development of my doctoral research process. Starting from the premise that acting in the city of Córdoba (Argentina) is configured in spaces of acting training, through the proposed link between an ethics of being with others and the construction of corporeality. Therefore, this research aims to study the acting training of some independent theater groups in the city of Cordoba, specifically the ideas of acting that underlie these trainings, what skills are sought to develop, what corporealities are built through acting training and how the group dimension operates in the training processes. My interest lies in achieving a characterization of acting training in the independent theater of the city of Córdoba with the purpose of contributing to a situated conception of acting. Thus, in the present paper, I will propose the unfolding of the research problematic and some uncertainties and methodological challenges to address the following questions: Why focus on the body and groupality? In a city where formal and non-formal spaces of acting training coexist, how to delimit a corpus of analysis that can account for this particularity and at the same time specify representative acting poetics of the field? What are the most appropriate procedures to recover or reconstruct experiences of teaching and learning processes? How to generate crossings between different disciplinary fields to address the research problem?Item Metadata only La acústica de lo abstracto en el universo simbólico de la danza Odissi(Pontificia Universidad Católica del Perú, 2023-11-13) Albergaria, Andrea ItacarambiEste trabajo propone reflexiones sobre el proceso de creación de videoescenas, un concepto de Danza, Teatro y Tecnología, desarrollado por Andraus (2021). De la experiencia observacional, tanto de caminar por la ciudad de Aurangabad, India, como de la participación en el grupo de bailarines Odissi durante la pasantía doctoral en Artes Escénicas, en la Universidad MGM, a lo largo del primer semestre de 2023, surge la cartografía acústica. Describo así este proceso compositivo, tomando como referencia los conceptos de paisaje sonoro de Schafer (1991; 1997), investigación sonora de Feld (2018), acústica de Seeger (2015), camino estético de Careri (2017), así como de la técnica y teoría de la danza y musicalidad Odissi, lenguaje que constituye mi principal técnica de interpretación y entrenamiento. El simbolismo abstracto presente en la cartografía mencionada trajo nuevas posibilidades compositivas y aperturas creativas para que capas de sonido y movimiento corporal, superpuestas en el montaje, crearan diálogos de danza en espacios de sonido y silencio en el entorno tecnológico de la videoescena.Item Metadata only Exploraciones en torno al proceso compositivo de la actuación escénica(Pontificia Universidad Católica del Perú, 2023-11-13) Vaccalluzzo, VictoriaIn this paper, we review the compositional operations of acting in theater rehearsal based on the concept of equality scene (Rancière, 2012). We are interested in how the acting composition manifests itself in independent theater rehearsal read as a possible equality scene. The focus of this work is placed in the theatrical rehearsal and the acting composition. We will share possible theoretical approaches to the term theatrical rehearsal. We will carry out research on the categories and definitions that intervene in the acting repetition that occurs in the acting creative process during rehearsal. Whit the contributions around rehearsal in Alberto Ure (2003), the acting conception in instances of stage composition developed in Cancha con niebla (2003) by Ricardo Bartís, and the acting registers posed by Federico León (2005), we propose a theoretical panorama of the notion of rehearsal as a theatrical practice that frames the compositional tasks of acting. We will develop the proposal to review the notions of trial, loss, and recovery as acting operations that are presented in the compositional task of scenic creation processes. We understand that these three operations can be interpreted as keys for reading the rehearsal as a possible equality scene.Item Metadata only Posibilidades del archivo escénico(Pontificia Universidad Católica del Perú, 2023-11-13) Bifaretti, María EugeniaThis text aims to problematize the possible ways of archiving and historicizing performing practices. For this purpose, it approaches the art works TODO, la imposibilidad de vaciar (2019) and TODO Performance (2021), directed by the performing artist Laura Valencia (La Plata, Argentina), where the collection of stage objects that the director has used and treasured during twenty-five years are activated. From a critical perspective of history (Scott, 2001) and affects (Ahmed, 2015), the artist's experience is taken as the main source and reflects on the power of art as an archive (Guasch, 2005), the idea of poetics of the rest (López, 2018), and the anachronistic images (Didi-Huberman, 2011) that are suggested on stage to consider those scenic objects as objects-remains and their uses in the works as memory exercises. Therefore, the idea of performing arts archive as repertoire of survivals is proposed in order to think what other ways of archiving enable these objects-rests and their bodily and affective dimensions, as well as the implications of addressing singular experiences for the historicization of stage events.Item Metadata only Trilogía en solos menores(Pontificia Universidad Católica del Perú, 2023-11-13) Thürler, Djalma; Woyda, DudaThis article intends to reflect on the relationships between art, society, and politics in the laboratory practices of ATeliê voadOR. Thus, it is intended to analyze the discursive and performative strategies, focusing on three of its solo shows: Three Cigarettes The Last Lasagna, The Other Side of All Things, and An Impossible Woman, and how these perform the critical function of encompassing and reshaping the dynamics of configuring a more just and democratic society in Brazil from the first decade of the 21st century.Item Metadata only Ánima Sola(Pontificia Universidad Católica del Perú, 2023-11-13) Domínguez Virgen, J. Carlos; Tamariz Estrada, María CristinaIn the article, we take Ánima Sola, a play about femicides in Mexico, as a starting point to problematize how stage creation assumes the ethical responsibility of representing the victims of violence. We review the notion of event, a concept discussed in different disciplines including Theater and Performing Arts. Using oral history as a methodological approach, more specifically in-depth interviews with the actresses involved in the project, we propose the concept of event in a life trajectory as an analytical aspect that complements other definitions, including that of theatrical event (Dubatti, 2017) and that of event as a set of effects that surpass their causes (Žižek, 2014). The conceptual framework is based on Merleau-Ponty's phenomenology (2002) and José Antonio Sánchez's reflections (2016) on ethics and representation, among others, to reveal that Ánima Sola as a dramatic text demands a disposition and involvement from the subjectivity of the actresses, an event that is expressed as an ethical manifestation of representation.Item Metadata only Voces en el silencio(Pontificia Universidad Católica del Perú, 2023-11-13) Ormeño Castro, Javier AlfonsoThis paper explores the effects of hospitality rites and the co-creation of common spaces as a means to achieve transitional justice in Peru, 20 years after the 1980–2000 internal armed conflict. It describes a tea ceremony in La Hoyada, a place used by the Army as a clandestine burial ground. A foreign act of hospitality breaks the temporality of the site; mindful actions create silence, and the voices of people are better heard. This work describes the development of an incipient methodology, an intimate language of presence, and how video recordings of participants’ testimonies captured the feelings arising in a one-time silent event.Item Metadata only “Diálogo entre zorros”(Pontificia Universidad Católica del Perú, 2023-11-15) Santistevan De Noriega, AlfonsoThis article analyzes Diálogo entre zorros (Dialogue Among Foxes), a collective creation that represents the origin and history of Villa El Salvador, a community in the southern part of Lima, the capital of Peru, in order to search for the particular characteristics of a collectively created dramaturgy in the historical context of the 1980s. The article reviews the mode of production, creation, and reception of collective creation theatre as a way of responding to traditional theater in order to incorporate new agents, themes, and aesthetics. The analysis of the play allows to discover that, beyond its communicational function, it proposes a dramaturgy rich in dramatic and spectacular resources. Additionally, this research intends to look for connections in this theater experience generated from the community itself, with the concepts and tools of local history and microhistory as well as historiographic practices that collect what the official history does not consider and, from there, generate more general questions. The indiciary paradigm of Carlo Ginzburg and the reduction of scale and microscopic analysis proposed by Giovanni Levi find a methodological and aesthetic correspondence in the practice of the collective creation theater of Diálogo entre zorros.