Núm. 2 (2023)

Permanent URI for this collectionhttp://54.81.141.168/handle/123456789/202711

Tabla de Contenido
Presentación del Dossier
  • Sobre la potencia de compartir escenas de igualdad y mundos en común en las artes escénicas Marin, Fwala-lo; Sena, Leticia Paz; 10-14

    • DOSSIER: Prácticas escénicas, escenas de igualdad y mundos en común
  • Exploraciones en torno al proceso compositivo de la actuación escénica Vaccalluzzo, Victoria; 17-32
  • Posibilidades del archivo escénico Bifaretti, María Eugenia; 33-50
  • “Diálogo entre zorros” Santistevan De Noriega, Alfonso; 51-67
  • Hacia un estudio del cuerpo y la grupalidad en la formación actoral del teatro independiente de la ciudad de Córdoba (Argentina) Yurquina, Paulette; 68-82
  • Una coreopolítica por amasar Calisto Echeveste, Emilia; 89-102
  • Retrato de intimidad Otaño, Estefanía; 103-122
  • Trilogía en solos menores Thürler, Djalma; Woyda, Duda; 123-129
  • Imágenes, testimonios y heridas Perrone, Nicolás; 140-159
  • El teatro negro contemporáneo como posibilidad de praxis crítica interseccional de Andrade Silva, Bianca Camila; Dadico, Luciana; 160-178
  • Ánima Sola Domínguez Virgen, J. Carlos; Tamariz Estrada, María Cristina; 179-198
  • Creación en danza Fonseca de Almeida, Renata Mara; 199-210
  • El camino del/la dramaturgista Hernández Aparicio, Gabriela Guadalupe; 211-224
  • La acústica de lo abstracto en el universo simbólico de la danza Odissi Albergaria, Andrea Itacarambi; 225-245
  • Espectáculo O Miolo da Estória Silva Da Conceição, Raylson; Costa Ribeiro, Tania Cristina; 246-261
  • Voces en el silencio Ormeño Castro, Javier Alfonso; 262-282

    • DOSSIER: Reseña
  • Escrituras de la intimidad en Romina Paula o una reseña ampliada Araudo, Leilén; 283-287

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    Subject: search.filters.subject.Práticas Cênicas

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      Posibilidades del archivo escénico
      (Pontificia Universidad Católica del Perú, 2023-11-13) Bifaretti, María Eugenia
      This 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.
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      Trilogía en solos menores
      (Pontificia Universidad Católica del Perú, 2023-11-13) Thürler, Djalma; Woyda, Duda
      This 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.