Artes Escénicas

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Adaptación del texto dramático Ollantay con herramientas del teatro físico para proponer un lenguaje escénico que permita a la obra de origen prehispánico trasladarse a la contemporaneidad
(2013) Solano Narváez, María José; Petroff Montesinos, María Isabel; Castillo Díaz, Bruno
Using the tools provided by the physical theater, creating a scenic and dramatic language, to enable the work of pre-Hispanic origin, Ollantay, transferred to contemporary, allowing you to visualize individuals to know and rescue part of their cultural identity, which is reflected in the presentation of "Ollanta, guerrero en la basura" who from circumstances propose a dual personality of the original legend ephemeral yet relate them to the present which an individual lives, questioning about what we take as part of our identity in the cultural field
Adaptación e hibridación de lenguajes escénicos, escritos y audiovisuales en torno al uso del objeto para generar un acontecimiento poético en la obra DecrouXScenic. Events
(Universidad de Cuenca, 2024-01-17) Calva Sinchi, Erick Fernando; Bustos Criollo, Jessica Cristina
This thesis work is orchestrated from practical and theoretical research on various trends in the performing arts, where procedures are proposed to generate an adaptation and hybridization that dialogues between languages starting from the written, from the object (newspaper), as well as the scenic and audiovisual language, linked to the context of the time of a geographically social region, in the work DecrouXScenic. On the other hand, the project maintains a constant transformation adapting to the social context in which it is framed, and is in turn directed to an audience through experimentation and use of social digital platforms.
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 espacialidad no convencional en la obra “Hoy no hay nada nuevo que contar aquí” de Clara Donoso, presentada en la Catedral Vieja de Cuenca-Ecuador
(Universidad de Cuenca, 2021-07-07) Cedillo Zarumeño, Christian Israel; Chaca Quizhpi, Freddy Leonardo; Donoso López, Clarita del Rocío
The following work focuses on an analysis of the spatiality of this work to understand the transformation of the old cathedral museum into a scenic space, being an exploration tool within a process creative dance-theater and thus identify and analyze the unconventional space that was used in this choreographic composition, providing a contrast in every way to the viewer. These essential points will be developed by carrying out a historical and aesthetic contextualization, understanding the relationships between dance-theater with new spaces. At the same time, the true source of inspiration that Clara Donoso had in her work as a performer / creator.
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
Análisis de la noción de Dramaturgia del Espacio Compartido en la obra de teatro Sin título – técnica mixta, de Miguel Rubio Zapata para el montaje de la obra Té Ve Verde
(2019-02-21) López Moreira, Mary Sofía; Carrasco Espinoza, Diego Alfonso
The graduation project analyzes the definition of Shared Space Dramaturgy that Miguel Rubio proposes in his work Sin Titulo- tecnica mixta and the ability that it has to generate overflows in the creation that faces the scene. From a construction of a scenic product, a journey is made in those concepts that work in parallel with this definition. The actor must create and systematize the processes he experiences in the creation laboratory, from his ability to relate and select these tools; and apply them to allow the spatial languages to flourish; and, by empowering them, propose a model of creation that applies the concepts
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.
Análisis de la obra la señorita Wang soy yo estudio sobre los elementos que conforman una obra escénica contemporánea tomando como referencia el texto de Paulina Mellado por qué cómo y para qué se hace lo que se hace
(2016) Vimos Palomeque, Yessenia Estefania; Maldonado Toral, Consuelo
This work is a thoughtful analysis about research in art, writing in contemporary dance, and performing arts elements used in the current creative processes. Such elements were taken from Paulina Mellado’s text Por qué, cómo y para qué se hace lo que se hace, and then used for the subsequent relational analysis of Ernesto Ortiz’s La señorita Wang soy yo, a piece that was carried out by Universidad de Cuenca’s Project “Hacia una nueva estética en América Latina.” Current research processes in art along with the validation of artistic practice as a means of research are challenged. Additionally, the concepts behind Patrice Pavis’s desemiotica, which suggest moving past semiotic analyses that view signs as being composed of the signifier and the signified, are used. Every performing arts element is taken apart in order to analyse the distinctiveness and function of each in relation to that of the others. More specifically, the spatiality and the territories that are created, the creation methodology (intertextuality/interdiscussion), and the choreographer’s statement within contemporary dance are used in order to weave all of the performing arts elements into a scenic proposal
Análisis de las acciones físicas en la construcción del personaje Manuel de la Obra “La Mama Huaca” del grupo de teatro Hijos del Sur
(Universidad de Cuenca, 2024-06-12) Bermejo Vélez, Julia Nube; Donoso López, Clarita del Rocío
The present investigation is based on the analysis of the body actions of the character Manuel from the workshop La Mama Huaca of the Hijos del Sur theater, where its creator and interpreter used the different mechanisms and exercises based on the proposal of Eugenio Barba and the Anthropological theater for the preparation of the character. The same one that details his acting exercises and how they were used for the personifications achieved that was staged
Análisis de las variables de acción representado en el montaje del ejercicio escénico: ENTRE DOS
(2014) Peñaloza Duarte, Katherine Alexandra; Carrasco Espinoza, Diego Alfonso
"Between Two" is a montage of dance-theater exercise, which reflects the action variables. This scenic exercise proposes the exploration of interpreters in a pragmatic logic of acting, which it would allow to translate into a body that lead to a grammar expectable mounting, mounting Seed Artwork Between Two.
Análisis de los conceptos: siete niveles de tensión y ondulaciones, planteados por Lecoq y la propuesta de gramática corporal por Étienne Decroux para la creación de una dramaturgia corporal en la obra Almas allá
(Universidad de Cuenca, 2025-03-31) Ulloa Chica, Bruna Camila; Zavala Lasso, René Patricio
This thesis analyzes Jacques Lecoq's proposals: the seven levels of tension and undulations, as well as Étienne Decroux's concept of body grammar for its implementation in the creation of a dramaturgy in the play Almas allá. The objective of this project is to analyze and systematize the process of building a movement score for the composition of a body dramaturgy using the concepts of Étienne Decroux and the principles of Lecoq's physical theater. The first chapter will analyze the concepts of dramaturgy and body grammar from the perspective of these authors, and the second aims to systematize the process of construction of about twenty movements in the play Almas allá.
Análisis del concepto de Bertolt Brecht, el gestus y las herramientas de Lucas Condro como fuente de creación escénica. Estudio de caso en la creación de la obra El pan de las 10
(Universidad de Cuenca, 2025-03-21) Rivera Guzmán, Steven Angelo; Zavala Lasso, René Patricio
This work investigates the relationship between two concepts: the tools of asymmetrical motion proposed by Lucas Condro and the Gestus by Bertolt Brecht for the application of a movement sequence, using El pan de las 10 as a case study. The objective is to analyze how these concepts are applied in the practice of scenic creation. In the first unit, the concepts of Lucas Condro and Bertolt Brecht are contextualized, and the tools and methodologies for gathering choreographic information useful for the scenic creation process are identified. In the second unit, the application of the tools in the creation of the work El pan de las 10 is explored, and finally, the findings and conclusions of the study are synthesized.
Análisis del concepto de metáfora de Elena Oliveras, en la construcción de la secuencia de movimientos desde el minuto 22:00 hasta el minuto 25:20 del monólogo de la obra En Medio de la Frente
(Universidad de Cuenca, 2024-06-09) Mejía Peralta, Tatiana del Rosario; Donoso López, Clarita del Rocío
This research focuses on a thorough analysis of the metaphorical concept proposed by Elena Oliveras and its influence on the creation of a specific sequence of movements in the monologue of the theatrical work "En medio de la Frente," directed by Rocío Pérez. This sequence of movements extends from the 22:00 to the 25:20 minute mark of the play, emphasizing the artistic representation of conceptual and emotional elements through choreographic and dramatic interaction. The play "En medio de la Frente," presented in the former medical school building of the University of Cuenca, explores the connection between the body, the stage space, and metaphor through a particular scene ; during the discussed sequence, a prominent wooden box on the stage becomes a pivotal element, symbolizing a barrier of social stereotypes and personal challenges that the protagonist must confront. The analysis focuses on the process in which the actress interacts with the box, opening it to reveal its inner content. The symbolism embodies the protagonist's internal and social struggle against adversities experienced by death of her son
Análisis del desarrollo composicional de la partitura corporal del personaje Baba en la obra Almas allá
(Universidad de Cuenca, 2025-03-12) Chicaiza Arias, Ruth Estefany; Ordóñez Matute, Andrés Rigoberto
The present research aims to systematize and analyze the process of creation of the corporal score of the character Baba in the play Almas Allá. This construction originates from intertextual work, which proposes a translation of the poem Autosabotaje by Isabel Garcerá to a physical material, through the incorporation of corporal techniques, such as the segmentation of the trunk by Étienne Decroux and the seven levels of tension by Jacques Lecoq. These components are part of the tools obtained during my stage training and the learning derived from the Performing Arts Career at the Universidad de Cuenca. The creation process takes shape through the production of the sketches of the corporal score, which are consolidated from the work of collective creation, under an interdisciplinary look that considers theory, corporal techniques and shared visions. In addition, this research addresses the evolution of the creative process, starting from an individual approach that is favored by the collaboration and contributions of the collective, until it becomes a group experience that influences the final composition. This practice, besides tracing the course of the creative process executed, also generates reflections on new methodological possibilities and practices that diversify the scenic creation, producing a dialogue from diverse languages that seek the translation of abstract concepts into body language.
Análisis del fenómeno perceptivo de la tensión en la construcción del personaje “Nicolás” de la obra Coco á
(2019-02-21) Cabrera Cabrera, Lucio Fabián; Pérez Escalante, Rocío de Lourdes
In the present investigation, the aim is to create and generate new spaces in the performing arts. In a practical and theoretical aspect. Therefore, this work reveals a reflection of the scenic show and, therefore, a thorough investigation of the perceptual phenomenon. On the other hand, it seeks to generate new fields of knowledge in the performing arts and new codes in the artist in his area of creation and research
Análisis del objeto en la obra ¨Clase muerta¨ de Tadeusz Kantor a partir de la noción texto espectacular de Patrice Pavis
(Universidad de Cuenca, 2020-02-19) Landaburú García, Génesis; Díaz Martínez, Bertha del Rocío
This research is based on the observation and investigation of the play La clase muerta, by the Polish artist Tadeusz Kantor, who is one of the fundamental figures of the contemporary turn of the theater. From the approach to this work an exhaustive work is done to reflect on the object on stage, on its use not as an element that creates a dramatic atmosphere, but is itself a trigger for a dramaturgy. From there, then, a reflection of the movement from textual dramaturgy to the dramaturgy of the live show or also called spectacular writing is achieved, which consists of configuring a narrative based on the conjunction of elements in space, a fundamental characteristic that Kantor works. Everything said, implementing the idea of Analysis of the Live Show, proposed by Patrice Pavis, who proposes to think about the scene in its weaving of elements in space.
Análisis del proceso de creación de las intervenciones número: 11, 26 y 31 del proyecto "Danza en la Calle” en la ciudad de Cuenca, a partir de la relación entre la danza contemporánea y la creación Site Specific
(Universidad de Cuenca, 2022-09-15) Gómez Navas, Sandra Ibelia; Bustos Criollo, Jessica Cristina
This work addresses the relationship between contemporary dance and Site Specific creation, based on the analysis of three interventions (11, 26, and 31) of the “Danza en la Calle” project directed by Sandra Gómez Navas since 2011 using concepts such as Creative process and Contextual Dance, in order to theorize the artistic practice carried out in these interventions.
Análisis del proceso de creación de una partitura corporal desarrollada desde la autoetnografía para la escena del desnudo del performance “Nø opines”
(Universidad de Cuenca, 2024-03-19) Velesaca Vega, Samantha Noemi; Luje Morales, Edwin Marcelo
The present degree project addresses the process of creating a body score developed from autoethnography for the nude scene of the performance "No Opines"; to do so in a comprehensible and well-founded manner, concepts such as autoethnography from the perspective of Sam Fernandez and Elisa Alegre, body perception and body archive from the thinking of philosopher Merleau Ponty have been investigated. On the other hand, to address the concept of vulnerability of the body, we speak from the representation of a canonical body in the perception of author Maria Jesus Abad, body memory in the text "The Wounded Body" from the perception of David Le Breton, "Emotional Memory" from the perspective of author Konstantin Stanislavski, fragility of the body from the creation processes of Frida Kahlo, the concept of "Performance" from authors Luis Cortés, María Victoria Polanco, María Elena Retamal, Karina Guerra and Sebastián Farfán, as well as the concept of body score proposed by Diego Fernando Murillo. Starting from autoethnography where the conflict and confrontation of the author with nudity were extracted from milestones of my journal where exercises were carried out as work in front of the mirror, with objects and materials as well as writing. It also explores the use of emotional memory proposed by Stanislavski for the construction of body scores that culminated in the staging of the work.
Análisis dramatúrgico de la obra Psicosis 4.48 de Sarah Kane y su relación con el feminicidio
(2018) Tapia Rios, Ruddy Natasha; Burgueño Alcalde, Loreto
For some authors the work Psychosis 4.48 of Sarah Kane appears as a confusing, violent and fragmented text product of the mental disorder of the protagonist. There are those who point out that the difficulty of the interpretation is due to the multitude of voices or the only voice of the protagonist. Currently, all text can be represented but the work of Kane opens the reading to multiple interpretations because there is nothing definite. In this scenario, dance, theater and performance appear as tools not only for representation but also as instruments for the viewer to adopt a critical stance in the face of what they are seeing. From this point of view, the work of Kane lends itself to make several analyzes because the problems that it contains are diverse: psychosis, misogyny, psychological violence and femicide. This project will analyze the last work of Sarah Kane in relation to femicide taking as a central axis Brecht's theory of distancing.

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