Browsing by Author "Ortiz Mosquera, Fidel Ernesto"

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Análisis de la construcción de un dispositivo escénico polisémico, realizado como gesto creativo intertextual utilizando el azar como herramienta composicional
(Universidad de Cuenca, 2022-11-30) Astudillo Ruilova, Angie Ximena; Ortiz Mosquera, Fidel Ernesto
The present degree work analyzes in depth the process of generation of scenic materialities, aesthetic choices and composition of these elements constructed during the professorships of Laboratorio de Creación Escénica II and III, and how these scenic materials were organized through chance to become a polysemic scenic device. This compositional process was produced as a creative gesture, through an exercise of intertextuality in which the images of stoning from the film The Stoning of Soraya (Nowrasteh, 2009), the testimony of Asha Ismal -a victim of ablation- and an interview with an Ecuadorian woman who married a Muslim man, thus ceasing to be recognized as a full legal person, converged. In addition, composition tools by Anne Teresa de Keersmaeker and Wayne McGregor were used. This scenic creative exercise was fed by different visual, sound, textual, corporeal and scenographic materials that appeared during the semesters of theoretical and practical research, as a consequence of the intertextual or interdiscursive practice. This thesis aims to give a specific account of the subjective gesture of creation from my point of view as a performer/creator, and my location within the process.
Análisis de la construcción de una dramaturgia corporal, en relación con el objeto escénico, desde el análisis del movimiento de Rudolf Von Laban, en búsqueda del uso de la metáfora como herramienta de traducción de una estructura social, el sentido de identidad y la pertenencia
(Universidad de Cuenca, 2024-03-18) Matailo Hernández, Julio Alejandro; Ortiz Mosquera, Fidel Ernesto
This work analyzes, from the creative praxis of the performer/creator, the relevance of different practical creation tools that connect with theoretical concepts of object stage composition, in favor of the construction of a body dramaturgy, in the context of a creative exercise. scenic-choreographic. In this research-creation process, the starting point is to study the interpreter's sense of belonging/non-belonging to a social-cultural structure, which also contributes to the construction of an identity. This social-cultural structure was metaphorized into a scenic object, to allow the creation of a particular corporality and scenic-choreographic materials that feed a staging. With this objective, tools were taken from Rudolf von Laban's Movement Analysis, for the composition with the object from its aesthetic function and its symbolic/representational function.
Análisis de la estética del Teatro Cuencano Contemporáneo y la necesidad de una práctica crítica teatral
(2022-07-01) Montalván Delgado, Edison Daniel; Ortiz Mosquera, Fidel Ernesto
This research addresses the study and analysis of the Cuenca contemporary theatrical aesthetic as a main subject that emerges from three main roots: historical, artistic discourse and aesthetic conditioning factors, that has opened a broad panorama of aesthetic forms that determined the social praxis of Cuenca ́s scene, that has developed from the second half of the XX century. In this sense, emerges the idea to show the history of scenic art as the “Tres olas del teatro cuencano”, which work as a catalyst of several aesthetics forms of the local scene, they have their own artistic manifestations that response to their context and their expression through diverse characteristics, conditioning factors and discourse of the theatrical authors.
Análisis de la estética del teatro cuencano contemporáneo y la necesidad de una práctica crítica teatral
(2022-07-01) Montalván Delgado, Edison Daniel; Ortiz Mosquera, Fidel Ernesto
This research addresses the study and analysis of the Cuenca contemporary theatrical aesthetic as a main subject that emerges from three main roots: historical, artistic discourse and aesthetic conditioning factors, that has opened a broad panorama of aesthetic forms that determined the social praxis of Cuenca ́s scene, that has developed from the second half of the XX century. In this sense, emerges the idea to show the history of scenic art as the “Tres olas del teatro cuencano”, which work as a catalyst of several aesthetics forms of the local scene, they have their own artistic manifestations that response to their context and their expression through diverse characteristics, conditioning factors and discourse of the theatrical authors.
Análisis de la obra Impulso Vital: elementos escénicos, elementos de creación y técnicas
(Universidad de Cuenca, 2021-07-30) Jaramillo Ocampo, Andrés Alfonso; Ortiz Mosquera, Fidel Ernesto
The thesis is oriented towards a personal analysis of the formation of the work “Impulso vital”; to understand the process of creation, development and production of the same and from this analyze and identify tools, elements, procedures and methodologies of creation and choreographic composition that contribute to the performing artist, dancer and performer. The analysis of this work will be carried out by compiling information about the training of the choreographer, her techniques and methodologies, together with conceptualizations about contemporary dance and improvisation, in order to understand some execution and creation mechanisms that collaborate in the choreographer-dancer relationship.
El arte y la conciencia social: síndrome de bullying
(2012) Bustamante Armijos, Verónica Cecilia; Ortiz Mosquera, Fidel Ernesto
Bullying born as a result of teen suicide studies in the 70s, its founder, psychologist Dan Olweus of the University of Norway, found that many teenagers and children are attacked in the schools by their peers and from this begins to be seen as a subject of study. This has been characterized as a hidden issue, ie has no specific reflections by educational institutions and others in charge of welfare of teenagers. And many of them in the absence of complaints does not see it as a research topic. For this research, a survey was conducted in two educational institutions of the city of Cuenca, which confirmed the existence of this phenomenon in high level, in a city where the society sees it as normal or as part of the teenagers growth. That is why there is the need to make evident this issue, and was resorted to art, specifically dance and theater, which will serve as a tool to approach to teens and provide them a better education in which not only takes into account the academic side but also the emotional and psychological. And as a result of this research was created a play of dance and theater "what it is not seen‖, which shows the life stories of each of the performers who have suffered from bullying
Bajo la Sombra de lo Desconocido: la mirada del director en el proceso creativo, desde el estudio auto-etnográfico, diseño escénico, la Memoria Emotiva de K. Stanislavski y los 5Ritmos de G. Roth
(Universidad de Cuenca, 2025-03-06) Guaraca Muñoz, Anthony Esteban; Ortiz Mosquera, Fidel Ernesto
This curricular integration work analyzes in detail, from the director's perspective, the creative process of the piece Bajo la Sombra de lo Desconocido, produced during two semesters, within the subject Research of the creation process. For this purpose, training, research and creation tools were used such as the ethnographic study applied to the performer, Stanislavski's acting method and the use of Gabrielle Roth's 5Rythms. The scenic materials generated from these techniques were also organized with the assistance of Scenic Design, understood as the articulating entity of the scenic elements: scenography, lighting, sound and costumes, to complement and finish configuring the dramaturgical and aesthetic proposal.
Construcción de una dramaturgia corporal desde la materialidad del elástico utilizando las herramientas dancísticas del Axis Syllabus
(Universidad de Cuenca, 2023-03-08) Bermeo Berrezueta, Alexis Dayanna; Ortiz Mosquera, Fidel Ernesto
The research proposes the construction of a body dramaturgy, based on the relationship of the performer with the elastic materiality as part of a scenography, which will lead to a dance composition that uses the tools of the Axis Syllabus movement system by Frey Faust. This research is developed to generate a choreographic composition from a spatial configuration (from the materiality of the elastic element), as a limiting element of movement to demonstrate the body's biomechanics (body awareness of movement).
Ejercicio escénico elaborado a partir de los fundamentos esenciales de la práctica de Contact Improvisation (CI), y el método de Composición en Tiempo Real (CTR) de Joao Fiadeiro
(Universidad de Cuenca, 2022-08-10) López Arcos, Pedro José; Ortiz Mosquera, Fidel Ernesto
Understanding that the performing arts reactively affect contemporary movements, academic research establishes exploration frameworks that challenge theoretical and practical knowledge in creative processes. The purpose of this research lies both in examining and enabling instances of sense creation within the scene, through the dialogue between Contact Improvisation and Real-Time Composition, and in formulating a dramaturgy that can reconstitute itself, simultaneously at the same time. in which it is presented to an audience. The assertiveness and efficiency of this autonomy, in the present tense, are the main statement to verify the extent to which the planning and development of this resulted in favorable results; which were the main drawbacks and, how and which could be solved. In accordance with this, the following article reveals the experiences of a creative process that was raised since the preparation of the training and laboratory, going through the stage of raising material for the choreographic composition, and finally, the functions to the public and the final reflections . This creative experience demonstrates one of several paths and decisions taken in search of how to promote approaches to a live dramaturgy on stage, based on mechanisms of improvisation and creation, produced in the present tense, and in reference to the current context of local scenic practice.
El laboratorio coreográfico. Entrenamiento y creación, dos instancias que se funden en una sola acción
(2018) Ortiz Mosquera, Fidel Ernesto
Building for the scene implies not only the articulation of the materials created, from the freedom and fertility that guided improvisation offers for the dancers, but the gear of all the parts that make up the scenic, in the search of a coherence to the work: the aesthetic machine. The physical training, the improvement of the dance technique must, moreover, correspond articulately with the spatial conditions in which the choreographic work is circumscribed and adapted intimately with the creative process and the aesthetic language that is generated. In that sense, the whole construction of the aesthetic form is what guarantees the success of a choreographic work.
El uso de la repetición según la entiende Anne T. de Keersmaeker y el concepto de leitmotiv de Richard Wagner, como herramientas para la creación de una dramaturgia coreográfica y sonora
(Universidad de Cuenca, 2023-03-03) Cambisaca Maldonado, Andy Israel; Ortiz Mosquera, Fidel Ernesto
The repetition conceived by Anne Teresa de Kearsmaker and Richard Wagner, is the starting point of this research process, which proposes the creation of a sound dramaturgy, in order to relate it to the body (action), thus allowing to compose a movement/dance, which enhanced by the sonority as an element create a properly articulated product, so that it exposes a clear discourse that manages to affect the viewer. By means of Wagner's Leitmotiv and the compilation of daily sonorities, it is possible to build soundscapes as Murray Schafer exposes, in order to enhance the total dramaturgy of the work, combining these sonorities with the different actions/movement within the scene, enhancing them and making them take a sense according to what is heard on stage. The body intervenes first hand, exposing the discourse proposed by the work, creating a reciprocal exchange of information with the sound dramaturgy, managing to advance to a more general space in which the creative process uses repetition, but does not conclude in this, but on the contrary takes it as an element that enhances the work as a whole.
El uso de los 5Ritmos y los Scores in motion para la improvisación y composición coreográfica
(Universidad de Cuenca, 2022-02-03) Pesántez Guaraca, Emilia Rafaela; Ortiz Mosquera, Fidel Ernesto
The thesis is a theoretical-practical research that will use Gabrielle Roth's 5Rhythms technique for the construction of a dance training and choreographic composition laboratory, to propose a method of scenic creation. The rhythmic-corporal qualities that this technique offers, will allow to discover the diverse qualities of movement that the dancers possess, to define a scheme of dance and spatial composition, which will be related to the use of the Scores in motion, as an organizing element of the created material. In addition, the Sensitive attention will be used as an emotional and psychological trgger for the performers ton enhance the physical elements of the staging.
El uso y aplicación del Método Feldenkrais y el Análisis del Movimiento de Laban en la construcción de un proceso de entrenamiento y de creación coreográfica en el lenguaje del ballet clásico, para generar una relación orgánica con las particularidades físicas de la intérprete/creadora y evitar esfuerzo y tensiones innecesarias en el proceso de preparación y acondicionamiento físico y de creación
(Universidad de Cuenca, 2024-03-05) Barrera Quinde, Celeste Sofía Amarantha; Ortiz Mosquera, Fidel Ernesto
This scenic research work seeks to analyze the possibility of rethinking the type and quality of physical effort made in the corporal and dance training of a classical technique class, in order to re-direct the approach to the relationship between the individual corporeality of the performer and the amount of work necessary for the execution of the technical particularities of ballet and its codified movements, in relation to the knowledge developed through somatic techniques of movement and movement analysis, such as the Feldenkrais Method and Rudolf von Laban's Movement Analysis
Entre la rigidez y lo maleable: el tránsito hacia un entrenamiento corporal consciente
(Universidad de Cuenca. Facultad de Artes, 2025-11-24) Pizarro Rosas, Diego Enrique; Ortiz Mosquera, Fidel Ernesto
This thesis studies how different perspectives on dance pedagogy can construct a perspective on the learning process. In dance, of any kind, body awareness is essential for transmitting knowledge to the student, since knowledge of one's own working instrument—the body—is essential for the fulfillment of the learning experience. In this study, it will be relevant to consider traditional dance techniques, which tend to automate mechanical repetition and the construction of an ideal of body and movement. Through a theoretical and procedural review of the author's experience, three fundamental moments in his learning experience will be analyzed: the reproduction of the ideal pattern; the conflict produced by the new somatic experience; and the doubt about what was previously learned; finally, the integration of both, unconsciously at the beginning and consciously at the end. These three moments or stages of learning will allow us to understand the particularity of each learning experience and give each one its appropriate value, without diminishing its importance.
Escenas alteradas: la interpretación del espacio y el movimiento en la construcción coreográfica de el corazón es un órgano de fuego (2019) y exvoto (2020)
(2021) Ortiz Mosquera, Fidel Ernesto
This academic article reflects on two processes of scenic-choreographic research that, developed by the same team of creative artists, were confronted in two different historical-social contexts: pre-pandemic times and the current ones. In this analysis, it is discovered how the socio-political and cultural conditions that frame artistic research not only fundamentally affect the construction of knowledge, but also contain the possibility of altering the ontological assumptions of the performing arts, allowing such assumptions to be challenged not only because of the artist's desire and urgency to build renewed paths for creation, but because of situations that are primarily distant from the artistic will, such as the confinement and isolation generated in the context of Covid 19
La experiencia en interpretación y creación del bailarín en formación, a través de su educación dancística, durante la puesta en escena de una obra de danza contemporánea. Caso: obra sala de espera
(2017) Matute Torres, Rebeca Katherine; Ortiz Mosquera, Fidel Ernesto
The thesis focuses on a personal analysis and creation of "Sala de espera", to understand how the classical technique can be a tool within a creative process of contemporary dance and identify and analyze procedures, tools and training corporal methodologies, creation and choreographic composition that contribute to the interpreter in its role of composer. These essential points will be developed by performing a historical and aesthetic contextualization of the technique of classical ballet to understand the relationships between classical dance and contemporary dance and integrate the mechanisms of creation between both techniques forming tools that contribute to the work of the interpreter / creator.
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
La composición coreográfica mediante el uso del análisis de movimiento de Rudolf von Laban aplicado a la creación coreográfica desde la relación con un objeto escénico, para la construcción metafórico-representacional de una estructura social restrictiva
(Universidad de Cuenca, 2024-03-04) Neira Parra, María Augusta; Ortiz Mosquera, Fidel Ernesto
The present curricular integration work analyzes, from a perspective of praxis and in connection with theoretical concepts and methodologies of scenic creation and composition, the dramaturgical construction of the scenic creation exercise El bucle... jamás termina. Starting from the study of the physical characteristics of a particular object, and the way of producing from this object a metaphorical sense about rigid and limiting social structures of the human being and their construction of identity and belonging, we sought to produce an organization of bodily, choreographic, and scenic elements that constitute a dramaturgical structure that contains and organizes both the materials produced by the performing creators and the director's perspective, with the aim of creating a scenic discourse. For this purpose, methodologies of bodily study and creation such as Laban's Movement Analysis were used, particularly the concept of kinesphere and the movement qualities proposed by Rudolf Von Laban, as well as a scenic approach to the use of the object and its symbolic and theatrical capacity.
La diversidad como valor agregado y capital simbólico en los procesos de enseñanza-aprendizaje en danza
(Universidad Central del Ecuador, 2017) Ortiz Mosquera, Fidel Ernesto; Ortiz Mosquera, Fidel Ernesto
The idea of homogenizing bodies, as well as a conductive education, based on a canonical perspective on beauty and efficiency, are obsolete when the practice of dance is understood as a diverse field enriched with the subjectivity of different bodies. These subjectivities are the ones to be discovered, acknowledged and strengthened to embody knowledge and question the capability of verbal language as the sole bearer of intelligibility. The processes of teaching and learning contemporary dance must, in consequence, access the corporal knowledge, through somatic techniques, which allow the incorporation of senses, experience and reason in a jointly responsible action, to develop a sort of rational and corporal intelligence in order to produce a constant self-awareness, that is constantly questioned.
Las artes escénicas como estrategia y recurso en medio de la crisis actual
(Universidad Autónoma de Querétaro, Universidad de Cuenca, 2021) Ortiz Mosquera, Fidel Ernesto