Kaylla

URI permanente para esta comunidadhttp://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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Mostrando 1 - 20 de 29

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La acústica de lo abstracto en el universo simbólico de la danza Odissi
(Pontificia Universidad Católica del Perú, 2023-11-13) Albergaria, Andrea Itacarambi
Este 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.
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Ánima Sola
(Pontificia Universidad Católica del Perú, 2023-11-13) Domínguez Virgen, J. Carlos; Tamariz Estrada, María Cristina
In 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.
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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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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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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.
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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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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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Creación en danza
(Pontificia Universidad Católica del Perú, 2023-11-13) Fonseca de Almeida, Renata Mara
This 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.
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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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“Diálogo entre zorros”
(Pontificia Universidad Católica del Perú, 2023-11-15) Santistevan De Noriega, Alfonso
This 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.
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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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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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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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Exploraciones en torno al proceso compositivo de la actuación escénica
(Pontificia Universidad Católica del Perú, 2023-11-13) Vaccalluzzo, Victoria
In 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.
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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, Paulette
This 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?
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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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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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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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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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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.