Artes Escénicas

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Browsing Artes Escénicas by Subject "Afectividad"

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    La construcción del personaje en la obra 'Uno en partes': una aproximación a la autoficción teatral a través de la influencia del objeto - memoria y la sinestesia táctil
    (Universidad de Cuenca, 2024-03-04) Granda Negrete, Karla Elizabeth; Zavala Lasso, René Patricio
    The research demonstrated the creation of the character that emerged from the laboratory process of the subject “Investigation of the Creative Process focused on staging”, which lasted around two years and resulted in the construction of the work “One in Parts”. The character is seen from the fragility of being, not finding his identity or belonging in certain places or social situations. The objective was to create characters that emerge from autofiction, applying emotional tactile synesthesia and emotional memory as creation tools; From this approach, the creation of several characters with different emotions was approached, which are part of a single person who has several personalities: Sara. Methodologically, we worked from tactile synesthesia, as a way to reach sensory memory, a proposal from one's own experience to bring it to the stage. Other theories were given circumstances, the magical yes, autofiction and a process of scenic creation. It was concluded that it is necessary to emphasize the sensory dimension of the theatrical act, to achieve the construction of new paradigms that achieve spontaneous behaviors in the spectators.
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    Mapeo sensorial, acontecimiento escénico sensorial no visual construido a partir del concepto de experiencia estética como experiencia umbral de Erika Fischer-Lichte
    (Universidad de Cuenca, 2023-04-20) Neppas Jiménez, Karina Alexandra; Rosero Moscoso, María Sol
    In this thesis, the theoretical concepts of scenic event and aesthetic experience as a threshold experience established by Erika Fischer-Lichte will be established and developed, and how they dialogue with the concept of sensory perception established by Antonio Damásio, where he explains that this perception is an undeniable biological process for the construction of a new experience. Necessary concepts as background to analyze and systematize the process of creating the scenic event called Sensory Mapping. The process of creating the scenic event will be analyzed and systematized, its roots from the somatic practice that I went through, and the experience that the spectators had in the Stage Direction exercise called The Divine Proportion. It also establishes the definition of Sensory Mapping, my threshold experience with blind people, the construction of the non-visual sensory game and various aesthetic experiences of the spectators when being part of the event. And it concludes by highlighting the importance of this stage event as a fact that needs to be lived in a present time so that the aesthetic experience can exist.
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    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.
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    Sistematización del proceso creativo: la construcción de una imagen visual para la puesta en escena empleando la noción de metáfora de Elena Oliveira y el intersticio de Jean Frederic Chevallier
    (Universidad de Cuenca, 2022-02-18) Bautista Sarmiento, Katherine Michelle; Pérez Escalante, Rocío de Lourdes
    The writing of this thesis proposes the systematization of a creative process through the metaphor and the notion of interstice of Jean Frederic Chevallier, in which the construction of a visual image for the staging is carried out. To achieve this, a theoretical reflection of creative practice has been carried out as a creation network to later define and learn about each tool to be used; Also, information has been compiled from personal work diaries to analyze and write the process of creative practice of a work carried out within the Composition and Editing Chair, whose research starts from the sensation as a producer of visual images and how this element is a potential generator of aesthetic experiences that respond to a social context.