Análisis de la obra la señorita Wang soy yo estudio sobre los elementos que conforman una obra escénica contemporánea tomando como referencia el texto de Paulina Mellado por qué cómo y para qué se hace lo que se hace

Abstract

This work is a thoughtful analysis about research in art, writing in contemporary dance, and performing arts elements used in the current creative processes. Such elements were taken from Paulina Mellado’s text Por qué, cómo y para qué se hace lo que se hace, and then used for the subsequent relational analysis of Ernesto Ortiz’s La señorita Wang soy yo, a piece that was carried out by Universidad de Cuenca’s Project “Hacia una nueva estética en América Latina.” Current research processes in art along with the validation of artistic practice as a means of research are challenged. Additionally, the concepts behind Patrice Pavis’s desemiotica, which suggest moving past semiotic analyses that view signs as being composed of the signifier and the signified, are used. Every performing arts element is taken apart in order to analyse the distinctiveness and function of each in relation to that of the others. More specifically, the spatiality and the territories that are created, the creation methodology (intertextuality/interdiscussion), and the choreographer’s statement within contemporary dance are used in order to weave all of the performing arts elements into a scenic proposal