Artes Escénicas

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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.
La exploración de la voz del actor para la creación del personaje de la muestra Historias Trenzadas a partir de la propuesta de Eugenio Barba sobre los principios que retornan
(Universidad de Cuenca, 2022-04-22) Ramos Jumbo, Pablo Andrés; Carrasco Espinoza, Diego Alfonso
The following graduation work is situated in the investigation of the actor's body. It has relation with the anthropological theater that Eugenio Barba proposes, it is deepened in the principles that return that it speaks in his book The Secret Art of the Actor. Above them the voice is explored, to build a character. The interest of this research is generated from how the body from these returning principles, is transformed and generates a state of pre-expressivity, perception and body awareness for the scenic creation. Then, a body training is proposed based on these principles in order to take the body to the required state. This body state serves as a platform for the exploration of the voice, the place where this investigation lies. The exploration of the voice comes from a previous laboratory work where this research cell was created. To settle this exploration more effectively, we will take as reference the book Organic Bases for the Education of the Voice (2002) by Ana María Muñoz and Chistine Hoppe-Lammer. In the end, body training and voice exploration are connected to explore, reflect and settle in the construction of a character that is reflected in the sample Braided Histories.
Mujer liminal: sensibilidad corpórea antropológica, gestual y rítmica
(Universidad de Cuenca, 2022-07-13) Burgos Patiño, Mayra Alejandra; Ortiz Mosquera, Fidel Ernesto
From the research/stage creation work developed in the Scenic Creation Laboratory I, II and III chairs – taught in the Scenic Arts career of the Faculty of Arts of the University of Cuenca – a proposal for choreographic composition and installation was developed. , in which several technical, methodological and procedural perspectives based on the author's personal life experience were intertwined; and framed in some principles of the Anthropological Theater of Eugenio Barba and the Movement Analysis of Rudolf Von Laban. The perspective on the body –as a creative agent and bearer of discourses– was based on the self-exploration of technical knowledge, as a body prepared to be a sensitive manifestive instrument in a space-time. The development of this research was proposed to answer the question: How the concept of organic body of Eugenio Barba and the concept of organic movement of Rudolf von Laban allow to build a corporality for the creation of the character in the exercise of scenic composition Liminal Woman? This body awareness allowed the creation of an extra-daily body, understood as an organic state of the same, ready for the scenic action that, in addition, produces a clear liminal perspective: a bodily presence - as a transformation of femininity and the sensitive experience of the author – from memory, and its multiple edges, to build an active dialogue between body and technical knowledge, in the creation of a device that vivifies body memory, within a body-object visual framework, made possible also thanks to the aestheticmethodological relationship with the paper material, as a carrier and container of meanings, decanted likewise in a scenographic device. The final result was presented digitally motivated by the effects of COVID-19, therefore, the creative research experienced from the convivio, entered the virtual system or tecnovivio for reasons of the new social context.

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Browsing Artes Escénicas by Subject "Antropología"