Browsing by Author "Maldonado Toral, Consuelo"

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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
(2016) Vimos Palomeque, Yessenia Estefania; Maldonado Toral, Consuelo
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
Combinación de métodos de trabajo escénico como medio de creación de una metodología como creadora-intérprete para la construcción de un personaje y posteriormente de escenas
(2016) Turcotte Muñoz, Natalie Estefanía; Maldonado Toral, Consuelo
In this work we have used primarily acquired skills and knowledge imparted in the career of Performing Arts at the University of Cuenca. In this way we seek to create a character from several notions and references of Theatrical Naturalism with the aim of achieving an organicity of the character on stage. That is why we begun by analyzing the concept of organicity of Konstantin Stanislavski, russian director from the twentieth century. This notion will serve as an introduction to the technique of William Layton, actor, director and theater professor who created a technique that helps the actor to achieve the organicity on stage. Finally we introduced the the theoretical proposal of Ernesto Ortiz, professor of contemporary dance in Performing Arts at the University of Cuenca, as he seeks to achieve a contemporary dance that meets the needs and bodily instincts of the dancer, but not the choreographer or director. This has been interpreted as a quest to achieve the organicity of the dancer on stage. So a laboratory process sterted, in which a character was created and interpreted in several scenes
Espectador vs ejecutante: indicios de un teatro relacional según Aragón Pividal
(2017) Ordóñez Matute, Andrés Rigoberto; Maldonado Toral, Consuelo
The present work is an analysis on the construction and operation of the perfomance device Espectador Vs Ejecutante: Indicios de un Teatro Relacional, according to the proposal of Agustina Aragón Pividalin in her book called La renovación de la escena tras el relevo del paradigma narrativo por el nuevo teatro posdramático: teatro discursivo, teatro asociativo y teatro relacional (2014). The objective of this research is to look at the new relationship between the theatrical product and the public, in which the spectator becomes a co-subject creator of the work, through its action in the performative event. All this is due to a change in the convention of the traditional theatrical scene, towards a new space in which the boundaries between the audience and the art work are crossed. For the study of theatricality and the change of convention in the fiction between the public we use Oscar Cornago´s work in ¿Qué es la teatralidad? Paradigmas estéticos de la Modernidad (2005). And for the spatial construction of the device where the rectangle is taken as the format, we apply Ramón Griffero´s study in La Dramaturgia del Espacio (2011). All these referents, combined with the performance practice as such, seek the construction of a device, which serves as an instrument capable of producing an event of a theatrical and relational nature, which is maintained in a constant process of development of both behaviors and relationships between the participants and the performer.
Hacia una nueva estética desde América Latina: producción de diseño; obras artísticas visuales, musicales y de teatro y danza
(Universidad de Cuenca, Facultad de Artes, 2020) Rojas Reyes, Carlos Fabian
Los lenguajes artísticos combinados como herramienta metodológica compositiva durante un proceso de creación que involucra a la danza y a la escultura en la escena. Sala de espera una propuesta artística
(2017-06-19) Bustos Criollo, Jéssica Cristina; Maldonado Toral, Consuelo
The present thesis consists of a study about the Combined Artistic Languages as a compositional methodological tool, during a creation process that involves dance, sculpture and music on the performance. It contains a reflective study about the definition, the antecedents, the characteristics and the conditions of production during the combined language. Also, it analyzes the creation processes and shared production of worldwide referents, based on four basic characteristics of this kind of methodology, which are: limits, hybridity, ideology and technology. It also contains the analysis and review of the entire creation process called Sala de espera, in which this kind of compositional and methodological tendency was applied, through a refletion about the different moments during the creation, as they are curiosity, dialogue, hybridity, and all of the procedures applied, like permeability and transferences between artistic languages, the differential presences manifested in the performance and the partial connections between all of its moments during the creation process. Finally, it contains all of the conclusions and syntheses thrown either from the process of research and theoretical reflection, as of the practical experience of the creation process.
Procedimientos de creación dancísticos a partir de la subjetivación del bailarín: un diálogo entre Pelbart, Lepecki y Macías Osorno
(2018) Montenegro Castillo, Milena Pamela; Maldonado Toral, Consuelo
In daily life, hegemonic social norms, sensorial anesthesia, and survivalism are manifested. Those pass through the anatomy and construct a determined corporality from the physical field to the deepest and undecipherable of the human being. We can say that desires, wills, energy waste, and uniqueness are places historically regulated. The present research studies the body that is immersed in contemporary dance and in turn coexists with biopower from three theoretical perspectives. With the choreographer André Lepecki, we drew a territory to relate dance with the hegemonies: with the dancer and pedagogue Zulai Macías Osorno and the philosopher Peter Pál Pelbart we seek to weaken the fragile sensitivity immersed in contemporary survivalism. Thus, we trace three creative principles: the unfinished body, to resist and to exhaust to generate dance procedures that drive the body movement within the sensibility. In a laboratory, we try to exhaust the modes of motor coding, to visualize cracks that allow us to discover a body in constant transformation, and to decipher the power of perception in relation to the other body, the other space, the other time. We walk to the encounter of a porous affectivity, which reveals the power of the processes of singularization, which whispers through the infinity of the body. We intensify dance practice and life itself, we draw a territory that leaves more questions than answers in a work of dance experimentation called Kairós.
Respiración imperceptible: transformación en escena por medio del olor
(2017) Muñoz Pérez, Carmen Gardenia; Maldonado Toral, Consuelo
In the present research we analyze the process of creation and the procedures carried out from “Laboratorio I” subject taught in “Malla Curricular 2012-2017” in the career of “Teatro-Danza” in the faculty of Art of the University of Cuenca. After that, we evaluate the relation of the procedures later mentioned with material developed in scene that let us create a methodology of work. It was based in the importance which has the feeling of smell and its right influence with the emotions. Finding as a main element inside of our research: the use of breath and the sound. Describing the experience that we lived with Mst. Javier Andrade during one year and half, through hard work, in which the sound and the voice were important components inside of their artistic creation. The systematization of this methodology let us to impart a “Taller” which gave us as a result scenic exercise, the same which was based in the affection of the smells and the effect of breathing. Here we evaluate the relationship that exists between the different elements which we use inside of our research: smell, sound and breathing.