Kaylla

Permanent URI for this communityhttp://54.81.141.168/handle/123456789/202671

e-ISSN: 2955-8697

La revista Kaylla es un proyecto del Departamento Académico de Artes Escénicas de la Pontificia Universidad Católica del Perú (PUCP) que tiene como objetivo fomentar, promover y difundir la reflexión académica sobre y desde las artes escénicas. Kaylla se propone ser una ventana de la investigación artística en nuestra universidad y una caja de resonancia de lo que pasa en el medio escénico tanto en el Perú como en la región.

La revista tiene dos tipos de convocatoria: permanente y temática. Para la convocatoria permanente se reciben artículos durante el año y, conforme van llegando los textos, se someten a evaluación de pares. Si tienen una valoración positiva, se publican a lo largo del año. Además, nuestra edición temática tiene periodicidad anual y se publica en el mes de noviembre. Todos los artículos son originales y se someten a un sistema de revisión de pares doble ciego antes de ser publicados. La revista se difunde en línea y se puede acceder al texto completo de los manuscritos de forma gratuita.

Kaylla, palabra quechua asociada a borde, orilla y lindero, que no solo demarca un espacio de otro, sino que pone énfasis en lo fronterizo como zona de transición y contacto activo. Desde ese concepto, proponemos que Kaylla sea ese espacio de encuentro reflexivo que nos permita vincularnos con la multiplicidad de posibilidades de abordar la investigación escénica y la creación

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José Ignacio López Ramírez Gastón. Este futuro es otro futuro. Lima: Universidad Nacional de Música, 2022, 240 pp.
(Pontificia Universidad Católica del Perú, 2022-11-02) Alvarado Arróspide, Pía
Book review for Este futuro es otro futuro (2022) by José Ignacio López Ramírez Gastón.
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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.
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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 Natali
The 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.
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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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Artes escénicas y generación de diálogo en tiempos de crisis
(Pontificia Universidad Católica del Perú, 2022-11-02) Tello Malpartida, Aurelio; Hú, Lucero Medina; Benza, Rodrigo
Presentación del primer número de Kaylla.
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Comunidades temporales de artistas de performance:
(Pontificia Universidad Católica del Perú, 2022-11-02) Pagnes (VestAndPage), Andrea
This 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.
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Teatro en crisis/Crisis en el teatro
(Pontificia Universidad Católica del Perú, 2022-11-02) Benza, Rodrigo
Rustom 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).
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Expectatorialidad, expectación, expectaciones, transexpectación
(Pontificia Universidad Católica del Perú, 2022-11-02) Dubatti, Jorge
In 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.
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Nuestro contemporáneo Óscar Liera:
(Pontificia Universidad Católica del Perú, 2022-11-02) Velázquez Hernández, Santos Javier
This 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.
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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 Javier
This 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.
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Bailar sobre los escombros: colectivizando el luto, compartiendo el dolor
(Pontificia Universidad Católica del Perú, 2022-11-02) Bonomini Martínez, Sandra
This 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.
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La poética y política de la empatía: el teatro como educación
(Pontificia Universidad Católica del Perú, 2022-11-02) Prentki, Tim
This 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.
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Escrituras de la intimidad en Romina Paula o una reseña ampliada
(Pontificia Universidad Católica del Perú, 2023-11-13) Araudo, Leilén
Reseña 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.
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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 Paz
No presenta resumen.
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Una coreopolítica por amasar
(Pontificia Universidad Católica del Perú, 2023-11-13) Calisto Echeveste, Emilia
Herein 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.
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Imágenes, testimonios y heridas
(Pontificia Universidad Católica del Perú, 2023-11-13) Perrone, Nicolás
This 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.
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El teatro negro contemporáneo como posibilidad de praxis crítica interseccional
(Pontificia Universidad Católica del Perú, 2023-11-13) de Andrade Silva, Bianca Camila; Dadico, Luciana
Since 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.
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Espectáculo O Miolo da Estória
(Pontificia Universidad Católica del Perú, 2023-11-13) Silva Da Conceição, Raylson; Costa Ribeiro, Tania Cristina
This 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.
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Retrato de intimidad
(Pontificia Universidad Católica del Perú, 2023-11-13) Otaño, Estefanía
This 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.
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El camino del/la dramaturgista
(Pontificia Universidad Católica del Perú, 2023-11-13) Hernández Aparicio, Gabriela Guadalupe
Dramaturgs 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.