Browsing by Author "Rojas Reyes, Carlos Fabián"

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La deconstrucción de los sentidos en la percepción del arte
(2011) Calle Bustos, Geovanny; Rojas Reyes, Carlos Fabián
Dramaturgia posbarbiana y caníbal en el teatro cuencano con especial énfasis en el grupo de teatro del Quinto Río
(2017-04-24) Vázquez Martínez, Juan Andrés; Rojas Reyes, Carlos Fabián
The present thesis analyzes the position of the contemporary scenic artist, through the principles of the functioning of “Esthetic abstract machines” main parts of “Canibal theater” and the theory on the "Form", developed by Carlos Rojas, as a reference of the proposal of an artistic production. The present work focuses on the study of the ways of production of the theater group called "Quinto Río" of Cuenca city, with long experience in theater production. However, this is not a historical study, but a critical reflection on its stage production, as a paradigm that renews the theatrical languages of the time. In addition the thesis develops a creative process which joins these elements with the concept of "heterotopic places", formulated by Michelle Foucault, who is incarnated in the play of theater of Isidro Luna called "Elizabeth o la esclavitud". In this way, it is intended to raise a new horizon well sustained to open paths of possible postbarbian – postdramatic dramaturgy.
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.