Browsing by Author "Bustos Criollo, Jessica Cristina"

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Adaptación e hibridación de lenguajes escénicos, escritos y audiovisuales en torno al uso del objeto para generar un acontecimiento poético en la obra DecrouXScenic. Events
(Universidad de Cuenca, 2024-01-17) Calva Sinchi, Erick Fernando; Bustos Criollo, Jessica Cristina
This thesis work is orchestrated from practical and theoretical research on various trends in the performing arts, where procedures are proposed to generate an adaptation and hybridization that dialogues between languages starting from the written, from the object (newspaper), as well as the scenic and audiovisual language, linked to the context of the time of a geographically social region, in the work DecrouXScenic. On the other hand, the project maintains a constant transformation adapting to the social context in which it is framed, and is in turn directed to an audience through experimentation and use of social digital platforms.
Análisis del proceso de creación de las intervenciones número: 11, 26 y 31 del proyecto "Danza en la Calle” en la ciudad de Cuenca, a partir de la relación entre la danza contemporánea y la creación Site Specific
(Universidad de Cuenca, 2022-09-15) Gómez Navas, Sandra Ibelia; Bustos Criollo, Jessica Cristina
This work addresses the relationship between contemporary dance and Site Specific creation, based on the analysis of three interventions (11, 26, and 31) of the “Danza en la Calle” project directed by Sandra Gómez Navas since 2011 using concepts such as Creative process and Contextual Dance, in order to theorize the artistic practice carried out in these interventions.
Construcción de un texto dramatúrgico basado en anécdotas de personas de la tercera edad
(Universidad de Cuenca, 2023-05-08) Iñiguez Zúñiga, Juan Carlos; Bustos Criollo, Jessica Cristina
The main motivation of this research work was the investigation of the personal stories of elderly individuals, where the main objective was to fictionalize these narratives in order to take them to the theatrical plane where the final product of this exploration was a dramatic text, for the collection of these anecdotes’ interviews were conducted anonymously with elderly men and women of the city of Cuenca, Ecuador.
El lenguaje del clown como método de creación de experiencias escénicas
(Universidad de Cuenca, 2023-04-20) González González, Jonathan Xavier; Bustos Criollo, Jessica Cristina
This research is a study of the clown and some of its principles and tools in order to reveal its language and use it to create scenic works. Based on the chairs of the Laboratory of Creation and Assembly I, II and III of the Dance - Theater career of the University of Cuenca, a method of theatrical and dance composition has been developed that seeks to create stage experiences through the use of language of the clown, works that can relate to the viewer in the same way that a clown does, resulting in the works: Cuando las palabras sobran, Yerma O y Una Flor Amarilla, presented between 2019 and 2022 for artists and the general public.
Estudio sobre la puesta en escena, entrenamientos y dramaturgia en dos obras de los grupos de teatro: La Pluma, El Telón y Teatro Experimental Universitario de Machala
(2017) Orellana Flores, Angel Efraín; Bustos Criollo, Jessica Cristina
This research was carried out with the aim of studying the sunset scene, workouts and drama, in two works by the "La Pluma", "El Telón" and "Teatro Experimental Universitario" of Machala theatre groups. This thesis was born as a personal interest in knowing the performing arts in the city of Machala, and was elaborated in affinity to the two line of research of the Faculty of Arts, allowing to perform "historical and aesthetic studies of creation and scenic interpretation" and at the same time of the article 25 of the Constitution of the Republic of Ecuador that facilitates the research processes; in the relevant part says: "people have the right to enjoy the benefits and applications of scientific progress and knowledge". In this case, seeks to know both the technique as knowledge employing groups object of study in their works. The methodology implemented for research was based on the inductivo-deductivo and historical methods. Likewise used the broad spectrum of tools of field research, specifically: the interview, collection of data and subsequent analysis thereof. Among the most important conclusions it is possible to recognize that the theatrical techniques with which they work groups in Machala belong to a compendium of standard Western techniques; but they are reinterpreted for work dramaturgical of actoral training and staging, depending on the needs of the groups studied
La dramaturgia de las manos como creadora de cuerpos ficticios
(Universidad de Cuenca, 2021-09-28) Maldonado Becerra, Ángela Mishell; Bustos Criollo, Jessica Cristina
This research is established in the Body and seeks to determine it’s physical and creative ways of creating present bodies, through the hands. An investigation that will advocate blurring the limits between the traditional idea of character in the light of Barba's proposal, both of the fictitious body and that of the actor-dancer, to which Eugenio Barba structures it as a series of magical yes, physical limits and Imaginaries, that condition the actor's body. In the creative process developed after this research, the dramaturgy of the hands is used as a research tool capable of establishing limits that allow the creation of a corporality, an expanded body but not a fictitious personality, instead of, a body capable of structuring and unstructuring in its evolution. Establishing a new perception against the idea of character. Fictional body also, approached by Paul Valery as the fourth real or imaginary body, which allows us to ask ourselves about the disappearance of the traditional concept of character.
La influencia de la filosofía del rizoma propuesta por Guilles Deleuze y Félix Guattari en el desarrollo de la sonoturgia dentro de un circuito performático
(Universidad de Cuenca, 2025-03-10) Sánchez Morocho, Víctor Hugo; Bustos Criollo, Jessica Cristina
This study explores how the philosophy of the rhizome, proposed by philosopher Gilles Deleuze and psychoanalyst Félix Guattari, influences the development of the sonoturgy in the performative circuit “La Quinta Estepa”. The concept of the rhizome is a metaphor borrowed from botany and presented in the book “A Thousand Plateaus” (Guattari, 1980). Deleuze and Guattari use it to describe systems of thought that are non-linear, multiple, and decentralized, which can be applied to the production, design, and experience of sound within the realms of performance and performing arts. The rhizomatic sonoturgy, as proposed in this study, is a creative approach characterized by its open and non-linear methodology. It does not follow predefined scores or structures but emerges from the direct interaction between sound, visual, and corporeal elements within the creative process. This approach seeks to generate a constant interconnection between sound, space, and movements, allowing each element to inspire and transform the others. Essentially, rhizomatic sonoturgy prioritizes the exploration of unexpected and asignifying relationships that enrich scenic narratives and stimulate new forms of expressiveness in contemporary art.
Los principios Ashi y Tashi del lenguaje de movimiento Gaga como herramienta para la construcción de una dramaturgia del movimiento en el ejercicio escénico De perspectiva, claroscuro y encierro
(Universidad de Cuenca, 2023-06-29) Delgado Barrera, Valeria Michelle; Bustos Criollo, Jessica Cristina
The developed document is based on the theoretical-practical material that has been studied in the Dance-Theater course of the Faculty of Arts of the University of Cuenca. In the first chapter we will take a look at the theoretical foundations used in the research. The second chapter contains the description of the creative process of the proposed exercise. To do this, we will go to the records of the work journal to identify the tools and, therefore, systematize them. We will delve into the movement form of Ohad Naharin, dancer and choreographer, creator of his own movement methodology. Ohad will take us to explore movement from listening to the body, taking us to animal movement through its language called Gaga. We will observe and describe several important moments for the development of this research, where the body explores the different possibilities of movement that the feet have as protagonists.
Sistematización del proceso creativo: “Una mirada al recuerdo por medio de un cuerpo manipulado” (Transformación de recuerdos a movimiento)
(Universidad de Cuenca, 2023-01-04) Sánchez Hidalgo, Gabriela Cristina; Bustos Criollo, Jessica Cristina
The writing of this thesis proposes the systematization of a creative process on the theoretical-practical investigation of memories and memories that are omitted, forgotten or present in a fresh way in our mind and how they generate movement in a body that also seeks its own memories. In this research-creation process, the material and materialities will be generated through training and investigations, making it known thatthis entire process will be generated through training based on the 5 Rhythms of GabrielleRoth, Biodanza of Rolando Toro, body vibrations, workspace changes, new modalities, virtuality, and more, linking them in the process to determine how these memories traverse the body.
Trasladar la desgracia: la metáfora como estímulo corporal para la construcción y sistematización del proceso escénico el desgaste de mi piel en el Site-specific
(Universidad de Cuenca, 2023-09-06) Nugra Llanos, Katherinne Michelle; Bustos Criollo, Jessica Cristina
In the present degree work, he addresses the systematization of the scenic exercise "the wear of my skin", which is built from the metaphor: transferring misfortune, which works as a sensitive bodily stimulus that will allow generating an investigation and consequently a scenic creation through fragmentations of autobiographical archives. In this sense, it is proposed to deepen the idea of the body as a container of memories and experiences that will be translated into images, movements, actions, etc., raising the question does the body suffer misfortunes?, allowing to raise and collect information, consequently it will be required the use of the site specific tool, as a product of interrelationships, from the enormous of the global to the insignificant of intimacy, perceiving reality in its entirety, as a subjective reality based on experience, determining three moments: wound-trace -scar for scenic creation.