Browsing by Author "Carrasco Espinoza, Diego Alfonso"

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Análisis de la noción de Dramaturgia del Espacio Compartido en la obra de teatro Sin título – técnica mixta, de Miguel Rubio Zapata para el montaje de la obra Té Ve Verde
(2019-02-21) López Moreira, Mary Sofía; Carrasco Espinoza, Diego Alfonso
The graduation project analyzes the definition of Shared Space Dramaturgy that Miguel Rubio proposes in his work Sin Titulo- tecnica mixta and the ability that it has to generate overflows in the creation that faces the scene. From a construction of a scenic product, a journey is made in those concepts that work in parallel with this definition. The actor must create and systematize the processes he experiences in the creation laboratory, from his ability to relate and select these tools; and apply them to allow the spatial languages to flourish; and, by empowering them, propose a model of creation that applies the concepts
Análisis de las variables de acción representado en el montaje del ejercicio escénico: ENTRE DOS
(2014) Peñaloza Duarte, Katherine Alexandra; Carrasco Espinoza, Diego Alfonso
"Between Two" is a montage of dance-theater exercise, which reflects the action variables. This scenic exercise proposes the exploration of interpreters in a pragmatic logic of acting, which it would allow to translate into a body that lead to a grammar expectable mounting, mounting Seed Artwork Between Two.
Análisis sobre el elemento de la memoria emotiva de Constantin Stanislavski para la sistematización de procedimientos de creación del personaje María la Guagua dentro del proyecto Cuenca en Cuentos del Colectivo Artístico Barojo
(Universidad de Cuenca, 2024-10-28) Mendieta Durán, Mercy Eugenia; Carrasco Espinoza, Diego Alfonso
The present investigative work addresses the construction of one of the historical figures of the city of Cuenca, in this case, María la Guagua, who is one of the representative figures of the locality. She belonged to the rural sphere and emigrated to the city of Cuenca in the 1970s, where she had to face the vicissitudes of that period for a rural woman. In this study, the character is constructed through dramaturgy and the use of the emotional memory element of Stanislavski's method. Within this framework, arduous work has been carried out to stage the play María la Guagua using theoretical premises of theater such as emotional memory and, above all, based on testimonies, interviews, analysis, rehearsals, among others, to consolidate a character based on the context of the society of the time
Análisis y reflexiones sobre algunos aspectos fundamentales de la dirección en el montaje de la obra Brindo por la soledad de mis sueños
(Universidad de Cuenca, 2023-05-09) Quizhpe Cueva, Paola del Cisne; Carrasco Espinoza, Diego Alfonso
The central theme is the analysis and reflection of the most relevant elements while directing the work: "I toast for my dreams' loneliness", a project that began in 2019. During the creating process, the focus are on the stage development, the text and its speech, the interdisciplinary, the rehearsal and construction of the performers' character. In addition, the script’s title, the importance of the stage´s notes in parenthesis, and the scenes with their meanings are analyzed. From the video point of view, the elements design, such as the materiality, the objects, the costumes, and the makeup are talked about. Finally, all conclusions are exposed and reflected while directing the project.
Aplicación del concepto sí mágico de Konstantin Stanislavsky durante el proceso de caracterización del personaje Talla Huesos dentro del proyecto Cuenca en Cuentos del Colectivo Artístico Barojo
(Universidad de Cuenca, 2024-10-28) Peñaloza Guzmán, Edisson Patricio; Carrasco Espinoza, Diego Alfonso
In this paper, the concept of "magic if" is developed for the construction of the character Talla Huesos from the city of Cuenca. Within this framework, one of the invisible characters of the locality was brought to the stage, thus recognizing their value and cultural contribution through this project and introducing them to the local scene. To achieve this, qualitative research was conducted, gathering interviews, anecdotes, reports, documentaries, and more, in order to comprehensively understand our character. Consequently, the concept of "magic if" was applied in the character's construction, which propelled the actor's work on stage by providing authenticity to the performance in line with a character considered both rebellious and supportive within the conventionalist society of Cuenca in the 1980s and 1990s
Desarrollo y sistematización de una metodología utilizando técnicas de danza-teatro y lengua de señas ecuatoriana para una propuesta escénica
(Universidad de Cuenca, 2022-09-14) Galarza Rodríguez, Ana Paula; Carrasco Espinoza, Diego Alfonso
The thread that runs through my work has been inclusion and particularly inclusion through art. Based on the investigation of various disciplines of dance- theater such as gestures, the use of objects, stage improvisations and the fusion with sign language, the development and subsequent systematization of a methodology for the staging of a dance is proposed. The purpose is having an inclusive work thatcan be witnessed by an audience with different conditions simultaneously, embracing the senses and feelings of each individual. Are there unquestionable truths? Absolute truths? Truths that manage to be timeless? Perceptions, conditions, realities and truths. A constant questioning both in research and in the study and analysis of my own human condition, which is not one, but several.
Dolor de parto: watrananay
(2010) Briones Abad, Lourdes; Vega Carpio, Johanna; Pacheco Rubio, María Belén; Patiño Quezada, Mabel; Carrasco Espinoza, Diego Alfonso
El uso del juego escénico y tradicional como estructura dramática de una composición escénica
(Universidad de Cuenca, 2022-08-06) Espinosa Delgado, Segundo Antonio; Carrasco Espinoza, Diego Alfonso
he present work focuses on the analysis of traditional and theatrical games as an instrument for the creation of scenic materials. It intends to be a tool that seeks to transform them into the structure of the play, and at the same time, it is a construction methodology that enhances the stage presence of the performer and his interaction with the audience. The game allows the construction of a dramaturgy (weaving) that combines pre-established scenic material with improvisations born from that playful nature, which evolves in the scenic composition, involving elements proposed by the director and by the participating artists. To reach this point, rules of traditional and scenic games are used, which establishes a dialogue of relationship between: improvised moments with the created scores, audience or spectator, training and staging; always playing with the intention of overflowing those rules.
Experimentación de ejercicios de teatro y danza basados en los sonidos de instrumentos musicales de la cultura afro-esmeraldeña
(2014) Guzmán Salinas, Paola Valeria; Carrasco Espinoza, Diego Alfonso
The study constructs a narrative of the iconographic levels, and iconological religious art of the nineteenth century with the theme of good and evil, which provided the key tools for the process of evangelization. The engraving of “The Temptation of Saint Anthony”, canvases of “The Last Judgment” and “The Archangel Michael” are significant in terms of its theological content with an aesthetic that manages a speech of elements such as heaven, hell, angels, and demons, responding to religious orders, as well as the human groups that are linked to these works and how these principles are present in the current imaginary; separated from its evangelizing power, images and religious notions become a new aesthetic, artistic, social and historical evocation.
Explorando las sinergias creativas: el diálogo entre la partitura de improvisación de la metodología Viewpoints de Anne Bogart y la instalación performática “Aire” en el proyecto “Rizoma: La Quinta Estepa”
(Universidad de Cuenca, 2025-03-11) Astudillo Machuca, Adriana Jessenia; Carrasco Espinoza, Diego Alfonso
This research explores the creative synergies that arise from the dialogue between the improvisational score constructed from Anne Bogart's Viewpoints methodology and the performance installation "Aire" within the interdisciplinary artistic project "Rizoma". It focuses on how the principles of kinesthetic response proposed by Viewpoints, which provide guidelines for improvisation and facilitate creative dialogue, can be applied in the construction of an improvisational score that relates to and integrates with the unique space of the "Aire" installation. The techniques and methods used have been an integral part of my training as a performing artist, acquired during my career in the Performing Arts Degree at the University of Cuenca. In addition to individual processes, the interdisciplinary collective work that impacts and shapes the final result of the work is examined.
La construcción del trabajo escénico a partir de improvisaciones sobre principios de antropología teatral
(Universidad de Cuenca, 2021-03-29) Lituma Lucero, Carlos Gilberto; Carrasco Espinoza, Diego Alfonso
This work is a synthesis of research that was carried out with the support of the Barojo Artistic Collective. The thesis seeks to highlight the model with which the actor-interpre ter staged the play “Carlitos de la Bicicleta”, one of the popular characters of the city of Cuenca. Among other aspects, this research shows how the actor and the director weave a network in which the character sustains himself during the scenic narrative: his structure, his gesture, his gaze, his breathing, his thoughts and his life model, all form part of this network. We highlight the social reality in which the story of this character is developed, through text, sounds, and emotions that will be told by themselves in the dramaturgy. Without leaving aside the theoretical and practical research process that had to be imple mented to create this play.
La dramaturgia de la repetición como metodología para un ejercicio escénico de creación
(Universidad de Cuenca, 2024-07-16) Carrión Yunga, Michelle Stefany; Carrasco Espinoza, Diego Alfonso
This research emerged from the urgency to find a profound consciousness in our lives, a new language stemming from the Andean worldview, its principles, and its configuration of non-linear time. Subsequently, this awareness is unfolded within a body that reflects and inhabits movement through a new perception of time, which spirals, sustained by a conceptual framework where the act of repetition, originating from the body, flourishes throughout the scene. This can be sensed in sonority, illumination, and then translated into a scenic toll that will develop a methodology and dramaturgy for the stage
La exploración de la voz del actor para la creación del personaje de la muestra Historias Trenzadas a partir de la propuesta de Eugenio Barba sobre los principios que retornan
(Universidad de Cuenca, 2022-04-22) Ramos Jumbo, Pablo Andrés; Carrasco Espinoza, Diego Alfonso
The following graduation work is situated in the investigation of the actor's body. It has relation with the anthropological theater that Eugenio Barba proposes, it is deepened in the principles that return that it speaks in his book The Secret Art of the Actor. Above them the voice is explored, to build a character. The interest of this research is generated from how the body from these returning principles, is transformed and generates a state of pre-expressivity, perception and body awareness for the scenic creation. Then, a body training is proposed based on these principles in order to take the body to the required state. This body state serves as a platform for the exploration of the voice, the place where this investigation lies. The exploration of the voice comes from a previous laboratory work where this research cell was created. To settle this exploration more effectively, we will take as reference the book Organic Bases for the Education of the Voice (2002) by Ana María Muñoz and Chistine Hoppe-Lammer. In the end, body training and voice exploration are connected to explore, reflect and settle in the construction of a character that is reflected in the sample Braided Histories.
El movimiento del cuerpo humano, mediante la teoría de espacio y memoria corporal de Barba, aplicado a la ceguera
(2016) Sigüenza Bermeo, Johanna Karina; Carrasco Espinoza, Diego Alfonso
The present paper attempts to simulate an environment similar to the living conditions surrounding people with congenital visual disability. Therefore, the following thesis topic has the purpose to create and direct a theatrical play. The sighted performers communi-cate to the spectator unusual sounds in the stage executing several actions with their bodies, voice and objects in order to create characters. These characters and their actions will trigger corporal reactions in the spectators, reactions that will put their bodies in alert-ness while experimenting sensations in a blind environment. Furthermore, in order to take the spectators outside of the visual theater, the spectators will be blindfold, thus cre-ating an imagination-based play (look and create without watching). The performers de-velop awareness of their actions and space around them generating auditory, gustatory, olfactory and tactile experiences in the spectators in order to make them undergo different sensations and emotions through the play. This displaying the relationship with the inner and outer world that surrounds people with congenital visual disability. The main topics within the thesis are: Eugenio Barba’s Anthropologic Theater of space and physical memory. The development of the stage play “Sienta una Silla y Siéntase” targeted for the blind and non-blind audience. The objective is to offer a theatrical experience based on physical blindness with the purpose of relating a thesis topic with a theatrical play run-ning inside an atypical scenario
Sintetizar la noción de entrenamiento personal desde los conceptos de Jerzy Grotowski y Eugenio Barba para generar un laboratorio donde el entrenamiento sea el principal objeto de estudio
(Universidad de Cuenca, 2023-02-27) Patiño Patiño, Hernán Esteban; Carrasco Espinoza, Diego Alfonso
The aim of this graduation work has been to synthesize the notion of training, from the concepts of Jerzy Grotowski and Eugenio Barba, in order to generate a laboratory where training is the main object of study. Taking into consideration that the interpreter's work cannot be born if he/she does not have clear training tools. This research leads to analyze the actor's training in a deeper way, starting from the need to understand the exercises as a tool that can be adapted to the interpreter-creator's body, without losing the sensory objectives for which they are made and in turn generate a scenic performance that has as a starting point the elements resulting from a training understood and applied in a personal way to the interpreter's body situation; The same way it can be experimented to be crumbled and transformed to mutate into clear but connected tools, generating in the performer a body-mind ready to understand, integrate and register these results in himself/herself and in his/her scenic work.
Teatralidades y dramaturgias del teatro contemporáneo cuencano: 2005 - 2013
(2017-06-20) Carrasco Espinoza, Diego Alfonso; Rojas Reyes, Carlos Fabián
This research seeks to understand the theater of Cuenca, at a specific time 2005 - 2013, in which we believe lived one of the most lucid, rich and complex moments that the tables have had in our city. It includes an important amount of historical data, although it is not intended to be a history of what happened in the theater at this time, but rather seeks to determine how groups and collectives, as well as individual determining artists, developed their work in this near past. Understand therefore their conceptual sources, techniques and the methodologies that developed in their ardua work. For this, a characterization of the scene was elaborated, going to documentary sources, own notes and the creators involved, and then proceed to select a representative sample of collectives or artists, whose trajectory was studied in detail. A critical, analytical and descriptive exercise was then performed on a play by each of the selected creators, using a methodological model that was created for this purpose, starting from the categories of dramaturgies and theatricalities, used as tools of analysis. This characterization also included the most relevant events that during the period existed or exist, as well as the formative options that exist in scenic art in the city, which are also briefly studied to complete the panorama. Both the model of analysis created and the historical inquiry required the construction of an important categorical and conceptual body, oriented to support the applied methodology, such as developed analyzes and historical inquiry, which is present throughout the text.
Transformación de los movimientos físicos realizados en la muestra Máquina Humana mediante las ocho cualidades de movimiento de Rudolf Von Laban
(2019-03-18) Altamirano Gómez, Carla Pamela; Carrasco Espinoza, Diego Alfonso
This thesis analyzes the conscious work of an actor and dancer’s movement on stage. It carries out a deep investigation in order to reveal the original intention and essence of the artist’s movement, seeing as physical action has the power to modify and transform the scenic space. To achieve the main objective of the research, Rudolf Von Laban and his eight qualities of movement are used as a reference in order to develop a clear definition of these movements. In the present work, the scenic sample “Human Machine” is analyzed in its three different stages. The first stage focuses on research of the unconscious which took place in the University of Cuenca’s Laboratory II of the School of Dance-Theater. The second stage investigates Laban’s eight qualities in the body of the actor/dancer and how they fit into the whole scene, thus creating a platform where the mechanical and unconscious movements transform into conscious actions and generate precise scores. The third stage critiques the compilation of all preparatory work for sample piece “Human Machine.” Aside from the analysis made on the physical body, this thesis also examines the scene at large, therefore holistically bringing together the various fields that make performance work a reality