Browsing by Author "San Martín Arévalo, Diego Paúl"

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Análisis de la función de la espacialidad en el formato teatral del site specific
(2019-07-10) Castillo Yépez, Jose Luis; San Martín Arévalo, Diego Paúl
Site Specific is a style or form of artistic construction that begins with plastic art, specifically with sculpture in seventies approximately, but nowadays it is practiced and therefore it can be appreciated in theatrical art, the essential and particular of this type of art is its relationship with spatiality or in other words, said with the scenic space, since, what is going to be told or what is shown, necessarily depends on one hundred percent of the space itself, that is, what has happened in that place or what can be done in that space, should be what directly influences the theatrical work, since what is presented in that space can only be carried out in that precise place and not in another, no matter how much similarity or similarity this other place possesses, in other words, there is not the slightest possibility that the artistic product can be transferred from one space to another. Being this is clear, the difference between this scenic device and conventional or non-conventional theater, since in these last two spaces does not necessary influence a hundred percent. Cent in the scenic fact
Concepto de Runakay (ser yo / yo soy) a través de una mirada etno contemporánea del pueblo indígena de Otavalo en la celebración de la fiesta del Pawkar Raymi
(2018-11-11) Culquicóndor Cojitambo, Juan Carlos; San Martín Arévalo, Diego Paúl
This study examines the important role of man and his identification by the I AM or BEING ME, through different research processes, he delves into the behavior of men and women and their role in the dance of Andean or traditional projection through the Runakay concept. Generating a process of creation and composition that is linked from the individuality of being and its complementarity, giving way to a product of collective consciousness. We start from the festival of the indigenous community of Otavalo the so-called festival of Runakay that is part of the major celebration of Pawkar Raymi. Two inductive strategies are described: the reflection and recognition of the SELF in the indigenous people of Otavalo and the construction of an identity as a member of a community translated to do scenic and their vision of SELF and the group
Construcción de partituras corporales a partir del concepto metáfora de Elena Oliveras y el concepto cuerpo archivo de Ileana Diéguez, para la sistematización del ejercicio escénico Ruptura
(Universidad de Cuenca, 2023-03-08) Ochoa Espinoza, Silvana María; San Martín Arévalo, Diego Paúl
In the present degree work, the systematization of the process of creating the construction of body scores of the scenic exercise "Ruptura" will be addressed from the metaphor concept of Oliveras and the concept of the body archive of Diéguez. This, with the aim of identifying, systematizing, analyzing and reflecting on said exercise and thus being able to have a basic structure of a creative process that can be used in subsequent stage works. In order to carry out the systematization, a theoretical investigation of the practical part has been deepened to detail, in this sense, the documentation and records of the process have been collected and accumulated practice that come from personal diaries and visual files to later organize and describe the creative process followed by an analysis and reflection of the concepts used andapplied to the practical procedure. The central axis of this research is based on the idea ofthe body as a container of experiences and archive of sensitive memories that can be translated into movement from the metaphor tool, for which the body must be in an organic state, present and therefore pre-expressive. The question that is going to be developed in thisresearch from the creative process is: How, from the concept Metaphor by Oliveras and the concept Cuerpo archivo by Diéguez, build a body score for the systematization of scenic exercise “Ruptura”. The methodology to be used is of a qualitative, descriptive and exploratory nature that will help me to work on the study of the creative process.
El cuerpo festivo: características y estructuración que invierten en la construcción de una corporalidad
(Universidad de Cuenca, 2022-10-31) Vintimilla Jimbo, Jenny Nataly; San Martín Arévalo, Diego Paúl
The following graduation work has had as object of study the festive ritual, as a form of total transformation of the body; initiating reflection on the ritual dimension presented by a development on the corporal leads us to investigate in depth the characteristics, both spiritual and physical that it can generate in the body. The festive rituals are made up of collective practices, customs that structure the life of communities and groups, being shared and estreemed by many of its members. The importance lies in reaffirming the identity of those who practice it in terms of group or society, since they are closely linked to significant events strongly related to the worldview, the history and memory of the communities. The sequences of acts that make it up have not only the verbal language but especially the corporal techniques, producing a different space-time, loaded with states of emotion among its participants, theoretical acting place that is presented in an important way in this investigation. From this bond, we make a conceptual fabric around this subject that has involved reflection, how the festive ritual produces a corporality, that is, of the management process of the body itself and that are perceived in subjectivity and in otherness, and in this way to deepen this path born of Andean philosophy as a method of construction of said corporality for the formation of the actor.
Estudio de la corporeidad del Pasillo Ecuatoriano
(2014) Idrovo Torres, Valeria Patricia; San Martín Arévalo, Diego Paúl
El Pasillo, is a musical rhythm that is considered an identity in Ecuador, and recently it has caused controversy. The following investigative work, demonstrates the influence this rhythm has over the Ecuadorian people. To do this, we have asked a group of volunteers of various ages and we interviewed them on the matter. They were interviewed regarding their knowledge, and experimented their body reaction towards the rhythm while they were in their intimate spaces. As a result, the development gave way to the staged play “Cuerpos del Pasillo”. The production brings together the previous research in a single montage.
Estudio de la noción teatral Cuerpo sin Órganos de Antonin Artaud como herramienta para la construcción de la corporalidad de un personaje escénico
(Universidad de Cuenca, 2021-11-24) Mazón Vivero, Wellington Abraham; San Martín Arévalo, Diego Paúl
The text in Theater has been the driving element for staging, characterization, set design, dialogues, costumes, music, lighting, intentions, etc. The main concern for contemporary theater is to re-signify the body of the actor; turning it into a living text on stage. This thesis analyzes the body and its transcendental transmutations from the acting and shamanic point of view. There will be an explanation in greater detail on how a special corporality emerges from a new body that the actor or the actress develops by being bodily aware of the expressive limits imposed by his social and emotional body; which will be - virtually - emptied and stripped of all their organs. The subject to be investigated corresponds to the Theatrical Universe of infinite and varied possibilities that Antöine Marie Joseph Artaud, Antonin Artaud, the metaphysicist of the Theater, conceived; and specifically, to the body, its different qualities, regions and corporalities used by each stage character that actors create. As well, I performed an extensive study about the body and body without organs or organless body according to Artaud, but from Gabriel Weisz’ perspective. Weisz is a theatrical anthropologist, expert in corporal philosophy of the Mesoamerican shamanic culture of Nahualism/Tonalism. The physical presence, conformation and the respective corporality of different types of bodies will be thoroughly explored in order to enrich the communicative baggage of the scenic artist, reflecting the body as a vital artisanal medium for transmitting overwhelming and convincing messages to the public with the practical and theoretical support of other authors.
Estudio de las nociones Munay, Ruay, Yachay para la consecución de cuerpo dilatado del actor Eugenio Barba
(2019-07-31) Yunga Patiño, María Eugenia; San Martín Arévalo, Diego Paúl
The present work is based on the investigation and the investigation of the notions of energy seen from the Andean cosmovision, its application in the body to develop the constitution of presence that Barba proposes, as well as other notions of rationality, parity, reciprocity, etc. How these notions observe the life of man and his relation with the universe and make understand the constitution of body observed from the health, the elebration, etc. The study of these notions that will be identified in the body to work with the premises of Barba, the recognition of the energies in the body to work as a unit that gives the character of organic and the development of a laboratory that allows us to experiment and bring to the body the consciousness of movement, the relationship with the other and space
Estudio de un objeto en constante migración de Ana Alvarado bajo el empleo de la melcocha
(Universidad de Cuenca, 2022-10-03) Murillo Quito, Edgar Geovanni; Sacta Aguilar, Johanna Valeria; San Martín Arévalo, Diego Paúl
The present investigation was directed to the study of an object in constant migration under the approach of Ana Alvarado, being a practical theoretical study, based on the use of the marshmallow as an object and center of the staging, for this an investigation has been carried out of the worldview proposed by Ana Alvarado, who presents the migration of the meaning of objects within the object theater, this principle starts from the idea that any object on the stage can start from a conceptualization or utility but this can acquire others in the As the context and the direction given in the scene change its meaning, so the marshmallow may originally be a traditional sweet, but in the play it can become a snake that interacts face to face with the actor. It should be noted that the interaction of the object on stage is the product of the manipulation that the actor produces, using it to tell the story, however, the object can also exert manipulation on the actor, by influencing their decisions, positions or postures, for what exists a two-way relationship between them and mutual influence. The empirical part of the research was carried out with the development of a video-recorded exercise, in which interpretive sequences were performed where the migration of the object's sense was visualized, from its ductility, change of physical state and the manipulated-manipulative action between the marshmallow that after going through the modeling process in the hands of the actor, turns into a snake that interacts with him.
Propuesta de una clase metodológica a través de la construcción de la Palla como elemento articulador de una enseñanza múltiple
(Universidad de Cuenca, 2025-08-05) Guerrero Lojano, René Humberto; San Martín Arévalo, Diego Paúl
This research aims to evaluate the implementation of Arts and Cultural Education (ECA) in the curriculum of Upper General Basic Education (EGB) in Ecuador. It will seek to determine how the cross-cutting approach of ECA can enrich academic learning and foster the holistic development of students, addressing the research question concerning the educational and emotional benefits of such integration. A Project-Based Learning (PBL) methodology will be employed to integrate ECA transversally across various curriculum areas, including Language and Literature, Mathematics, Social Studies, and Natural Sciences. Students will participate in the construction of a "Palla" and explore pentatonic scales, allowing for practical and collaborative understanding of theoretical concepts. The didactic planning table will be crucial for organizing and coordinating activities, ensuring a coherent and structured implementation of ECA. It is expected that the integration of ECA through PBL will result in a significant increase in students' appreciation of Ecuador's cultural and artistic heritage, as well as an improvement in their expressive, collaborative, creative, and socio-emotional skills. ECA, integrated transversally in the curriculum through PBL, aims to enrich academic learning and promote the holistic development of students.
Sistematización del Proceso de Creación del Personaje “La Yerberita” Creado por la Actriz Augusta Angamarca, para el Proyecto de Rutas Patrimoniales de la Ciudad de Cuenca
(Universidad de Cuenca. Facultad de Artes, 2025-11-14) Rios Villalva, Evelin Rosana; San Martín Arévalo, Diego Paúl
This thesis analyzes the creation process of the character "La Yerberita," created in 2017 by actress Augusta Angamarca for the Cuenca Heritage Routes project. It considers the research methods, acting tools, methodologies used in the creation process, and some background information regarding the actress's family history. The thesis is composed of three chapters: the first contextualizes and describes the Cuenca Heritage Routes project of the Barojo Company, its main promoters, its goals, and its cultural intentions in enhancing the city's intangible heritage, for which the popular fictional character, "La Yerberita," was designed. The second presents an overview of the main aspects that characterize Cuenca's heritage culture through historical figures and data that contribute to historical reflection and inquiry as credible support for the formation of this character, the object of research. The third and final chapter delves into the cognitive interactions that lead to the dramaturgical formation of the character and the creative process, referring to the parameters of creation, which stem from the emotions and affective family memory of the character's creator. The appendices provide detailed information on these processes, contained in the interviews conducted by this author with the creators involved in this process.
Transformación corporal a partir del análisis de la noción de cuerpo cinestésico, dentro de la etapa de trabajo de mesa de un texto teatral. Estudio del caso Espectros, obra adaptada por Teatro Brujo
(2019-06-20) Becerra Berssoza, Maria José; San Martín Arévalo, Diego Paúl
This research project aims to reflect on a process of creation based on the adaptation of a classic theatrical text and how this reflection affects the body and transforms it. Taking into account the diversity of the starting points for the creation-interpretation and/or composition of various products or stage exercises, we focus directly on the methodology of the first part of the table work from a theatrical text by the actress in terms of creation, composition and interpretation. Hoping to systematize the work previously done within the play ESPECTROS, adapted from Teatro Brujo, 2017, Cuenca. After the approach on the body and the elements that we seek to rethink: perception, corporality and the idea of the world; they allow us to disarticulate a static conception on the body, in an organic way, to kindly reconstruct it within the current context. As references for this perspective on the body are: Mariana del Mármol, Mariana Sáenz, then for our cinesthetic body we turn to Asier Pérez and his focus around Maurice Merleau-Ponty. This reconstruction is related to the appropriation and awareness of the creative memory and the kinesthetic body. The methodology we chose for this research project is done qualitatively. Outside we think that the body, the text and inside we want to identify the different reflections that encompass and detonate these elements within a process of creation in the performing arts
El transgénero y el arte escénico a través de una identidad de género sin condiciones socio culturales
(2013-07-22) Delgado Andrade, Andrés Felipe; San Martín Arévalo, Diego Paúl
This project develops a research on the performing arts and gender roles, since in this field gender roles and sexuality are a reflection of the socio-cultural conditions that exist at the national level. This is a study project which exposes the social construction made by the heterosexual system to meet the gender and sexual conditions. Gender roles have been reinforced by the performing arts especially in ballet, where the artist is placed on stage by sex to which it belongs, which contribute to the artistic limitations of the dancers and in general artist. This thesis proposes a performing art without gender and sexual norms and the option to see the human being and the love of got on top of the genders, sexualities and conventional esthetic. In the first two chapters we find the conceptualization of terms used throughout the investigation, and then in later chapters establish the relationship between gender, sexuality and art, as well as a creative everyday practical result of this research.