Artes Escénicas-Pregrado

Permanent URI for this collectionhttps://dspace-test.ucuenca.edu.ec/handle/123456789/313

Browse

Now showing 1 - 20 of 157

El principio de oposición de Eugenio Barba en la creación del personaje de la obra Cuando muere un hombre
(Universidad de Cuenca. Facultad de Artes, 2026-04-22) Agudo Gualpa, Jorge Andrés; Donoso López, Clarita del Rocío
In this thesis it is proposed to carry out the dramaturgical construction of a theatrical work based on the principle of opposition of Eugenio Barba, starting from the creation of a character, taking into account the rhythm of the work, the plot, the construction of the scenography field, light and sonorous. The need to find the opposition is to verify the balance between two theatrical construction sites within the same scenic space, in this case, it is the application of this principle as the basis of the entire dramaturgical composition. The proposal tries to link the principle of opposition of Eugenio Barba applying it in each dramaturgical layer in the creation of the theatrical work When a man dies, mainly in the text (character, scenery, lighting).
Influencia de tres recursos literarios del poema. Boletín y elegía de las mitas” de César Dávila A. en la creación coreográfica anti narrativa sobre el mismo
(Universidad de Cuenca. Facultad de Artes, 2014- 01 04) Pico Cabrera, Johnny Castiel; Cardoso Aguilar, María Inés
This Choreographic work is about the poem “Boletín y Elegía de lasMitas” of Cuencano writer César Dávila Andrade, this is a poem that has transcended Ecuadorian literature for its fascinating use of words and the topic of the Spanish conquest to Ecuador. This literary work contains some expressive elements in their syntactic structures of which will work in this dance work more with literary devices: alliteration, onomatopoeia and acoustic metaphors, where the linguistic sign of the literary piece is set. The literary resources provide the poem by a sound that contains a subtext of the main ideas: pain, protest and identity; and from these literary figures start the search process of body movement, allowing the body is affected by sound vibrations poetic text, so that the dancer is able to assimilate these sounds, and translate into images, sensations and movement. In the scenic work, is considered the methodology of Merce Cunningham about chaos and chance, and the technique of improvisation, with the objective of avoid a caricatural and linear narrative construction of the poem, a mechanized interpretation, what is sought is an appropriation poem by dancers, genuine interpretive actions found by themselves, and above all a search of movement guided by the sound and content of the literary piece. The choreographic composition is influenced by the current aesthetics of minimalism, with the motive of demonstrating not needing an extensive and complex composition of movements and scenic resources in general, to convey the expressive force and spirituality of the verses of Davila, is more interesting to those small details that resonate in the body and develop a space - temporal dimension
Sistematización de un ejercicio compositivo intertextual desde el planteamiento de Ernesto Ortiz con los materiales del Juego del Gato y el Ratón y la problemática de la violencia y rechazo a las infancias trans para la construcción de una escena de la obra “Rata por Naturaleza”
(Universidad de Cuenca. Facultad de Artes, 2026-03-16) Carpio Sánchez, Erika Patricia; Carrasco Espinoza, Diego Alfonso
In this research, I explore intertextuality through the ideas of Ernesto Ortiz, using it as a creative tool to develop the dramaturgical hypertexts that shape the play Rata por naturaleza. In the first chapter, I analyze the concept of intertextuality, starting from Ortiz’s approach in his book La creación en danza: Un acercamiento desde la intertextualidad y la composición en tiempo real, where he describes it as a mainly physical experience. I also include contributions from other authors, such as Genette, to give a more literary perspective. In the second chapter, I examine intertextuality as a method for creating scenic composition, following Ortiz’s methodology to identify, analyze, and work with the central hypotexts of the research. In this case, the hypotexts are the children’s game “Cat and Mouse” and the autofictional issues related to the reality of trans women in Ecuador. Finally, the third chapter presents the practical application of intertextuality in a body- creation laboratory, showing the results in the form of hypertexts such as the body, costumes, objects, and scenography.
Sonoplastia, cuerpo e imagen: Creación de atmósferas escénicas y personajes inmateriales en la escena contemporánea
(Universidad de Cuenca. Facultad de Artes, 2026-03-10) Jimbo Bautista, Martin Alejandro; Ordoñez Matute, Andrés Rigoberto
This research explores the meaning, function, and application of sound design and scenophony, based on the approaches of César Lignelli and Rodolfo Sánchez within the practice of research-creation, starting from the interaction between body, image, and sound in the creative process of the work Exiliados en Silencio (Exiles in Silence). In this sense, sound is conceived as a structural axis of dramaturgy, capable of generating atmospheres, constructing characters, and articulating meanings alongside image and body. This study takes a laboratory approach, where sound interacts with the stage space, giving rise to the concept of scenic-sound architecture, allowing it to become an autonomous device of creation, capable of constructing emotional and contextual states that affect both the performer and the spectator. In addition, sound integrates a sense of discursive construction on migration, where authors such as Sassen and Bauman, in dialogue with the experiential state of the performers-creators, trace and formulate aesthetic-artistic states, structuring evocative, representative, and symbolic levels on the social and emotional dimension of the migratory phenomenon, transforming possibilities of application/action from the language of the stage The practice is based on bodily procedures and techniques, sound editing and composition methodologies, aimed at creating auditory layers that dialogue between the body-image relationship, with sound design articulating sound and action and scenophony shaping the sound space through the use of contemporary technologies. Finally, the systematized creative experience recognizes the need to develop new contemporary procedures and methodologies that move away from text as the dramaturgical axis and place the body-sound relationship as sensory and physical dimensions, serving as creative engines that design a sense of sound architecture, with systematization being the place that allows this work to be viewed as an interdisciplinary device (combining theater, dance, new technologies, and sound design), which creates a multisensory experience for the viewer.
Construcción del personaje Lira desde cuerpo, sonido y situación: Exploración sensorial y experimental del método Stanislavski
(Universidad de Cuenca. Facultad de Artes, 2026-03-10) Rivas Idrovo, Camila Cristina; Ordoñez Matute, Andrés Rigoberto
The present research aims to analyze and systematize the process of constructing the character “Lira” thru the interplay of body, sound, and situation, by applying the tools of Given Circumstances, Emotional Memory, and Physical Actions from Konstantin Stanislavski’s System. This proposal is structured within the research-creation paradigm in the performing arts, allowing for a contemporary reinterpretation thru an expanded approach to the Stanislavskian method, demonstrating a transformation of its tools, which are formulated thru body-sensory work, enabling the exploration and construction of the character. This perspective moves the character away from being a scenic entity predetermined by the written dramaturgy and instead configures it as a living construct, resulting from the performer’s corporeality, the soundscape (live and/or prerecorded), and the situational conditions of the scene. This allows us to view the construction of the character “Lira” from an interdisciplinary perspective grounded in sensory experiences in dialog with technical tools, presenting a female figure trapped in the anguish of musical creation, whose methodology demonstrates the potential of the Stanislavski system to operate in non-textual dimensions. Finally, as a result of the process, the work “I Thot of a Creative Title, but I Forgot” It is produced, in which the scene is explored thru the integration of live sound, silence, lighting, body, and object, collectively directed thru improvisation and an investigation into the meaning of the proposed sensory dramaturgy.
Construcción de la corporalidad del personaje “Celestino”, utilizando el ritmo de los tambores africanos y la herramienta de la danza de oposiciones planteada por Eugenio Barba
(Universidad de Cuenca. Facultad de Artes, 2026-03-10) Mora Morales, Pablo Vicente; Acurio Vintimilla, María Emilia
This thesis systematically analyzes the theoretical-practical process within the subject of Research on the Creative Process Focused on Execution I and II. It proposes the construction of characters in the performing arts, centering on their development from movement drivers in relation to sound. The objective is to understand how the rhythm of African drums influences the creation of corporealities, based on the dance of oppositions proposed by Eugenio Barba. As a result, the character "Celestino" was created using the rhythms of African drums and Barba's methodology of the dance of oppositions, revealing a strong connection between sonic rhythm and scenic corporeality.
Creación de personajes desde los principios del sistema Konstantín Stanislavski y el concepto de geometría de línea. Análisis del caso en la obra escénica Se fue la Luz
(Universidad de Cuenca. Facultad de Artes, 2026-03-10) Llivisaca Loja, Sandra Lizbeth; Zavala Lasso, René Patricio
This project aims to design and develop a process of scenic creation that integrates the principles of Konstantin Stanislavski’s system with the concept of line geometry (the relationship between body–space–character) in order to create believable characters. This research will be carried out through a research-creation methodology and is structured into two chapters that are directly connected to scenic practice, starting from the performer’s body to build characters both from emotion and from an active, prepared physical body.The first chapter, titled The Body as a Tool for a Believable Creation, explores the foundations of Konstantin Stanislavski’s system as a way to support the development of more human, complex, and believable characters. It also incorporates concepts from physical theatre, drawing on the work of Eugenio Barba, Roberta Carreri, and Jacques Lecoq. This chapter addresses topics such as: actor training, character creation through training, and movement economy, to foster a more authentic bodily logic. In addition, it introduces the concept of line geometry, based on Robert Wilson, to support the development of a visual proposal centered on the body, space, and character.Finally, the second chapter focuses on the process of systematizing the entire procedure that has been carried out in the laboratory course and during autonomous practice.
Laboratorio coreográfico entre danza contemporánea y popping: Hibridación del movimiento desde el esfuerzo del Laban Movement Analysis
(Universidad de Cuenca. Facultad de Artes, 2026-03-10) Sicha Matailo, Jessica Andrea; Ordoñez Matute, Andrés Rigoberto
he aim of this research is to systematize and analyze the process of creating hybrid movement sequences between contemporary dance and urban dance, using the effort category of Laban Movement Analysis (LMA) through the principles of David Zambrano's Flying Low and Boogaloo Sam's popping dance, resulting in the work Gusanos de metal – Hombres de papel (Metal Worms – Men of Paper), which is configured as a scenic composition that articulates technical and symbolic elements of both dance languages, generating an evocative discourse focused on social disconnection in the digital age. Using the researchcreation methodology, the proposal is to develop a laboratory with performers from urban dance, integrating the LMA effort factors (time, weight, space, and flow) to construct movement qualities with expressive intent. This study allows for reflection on the hybridization between dance practices from their social, aesthetic, and pedagogical contexts, proposing new forms of perception, composition, and meaning of movement, where the artistic and discursive value of bodily knowledge from urban dance movement is recognized.
Sistematización del Ser 3: Exploración y construcción del movimiento desde los motores anatómicos del Asymmetrical Motion y los siete pecados capitales
(Universidad de Cuenca. Facultad de Artes, 2026-03-10) Zúñiga Urgilés, Paula Cristina; Ordóñez Matute, Andrés Rigoberto
The aim of this research is to systematize the process of constructing the movement structure of Being 3 in the work Revelación SIN fin: Un torpe gesto de amor para sí (Endless Revelation: A Clumsy Gesture of Love for Oneself), understanding that the object of study is the body from its anatomical-scenic meaning, considering its dynamics of exploration based on anatomical motors and neurological patterns, as well as from its physical and sensory dimension. The notion of the body is approached from the philosophical postulates of Merleau-Ponty, Judith Butler, and David Le Breton, who allow us to redefine the body beyond the biological, recognizing it as a sensitive entity, loaded with memories, affections, and fragility, creating and communicating experiences through dance. In this sense, the configuration of Ser 3 is structured in three stages: the first is body awareness through somatic education; the second is the exploration of movement based on the Asymmetrical Motion methodology; and the third is the development of body and movement training based on Flying Low. The research emphasizes the second stage, as this is where the structure of Ser 3 is born and this methodology and its exercises are recognized as a fundamental tool for stage composition. Therefore, the body is explored using the tool of the parts and the whole (the movement motors) of Lucas Condró's Asymmetrical Motion. This practice responds to the theme of the seven deadly sins, where intertextuality allows for the execution of different exercises translating discourse into movement, body, and the different scenic elements of the composition. Finally, the process of construction and evolution of Being 3 is presented, its integration with the other beings on stage, evidencing its systematization and generating a methodology for bodily inquiry from three different approaches (Bartenieff, Condró, and Zambrano) with the purpose of generating a symbolic movement structure.
La intertextualidad como herramienta de investigación/creación dancística: un diálogo entre la religiosidad católica y la escena
(Universidad de Cuenca. Facultad de Artes, 2026-03-10) Gualpa Jiménez, Jennifer Dayanna; Ortiz Mosquera, Fidel Ernesto
This curricular integration work systematically analyzes the practical process of the Research on the Creative Process focused on Performance I and II course. Within the course, the use of intertextuality is proposed, as understood by Gérard Genette within the broad field of transtextuality, to establish relationships between different artistic "texts": the idea of the seven deadly sins from Catholic religion and Jheronimus Bosch's painting The Table of the Seven Deadly Sins. From these intertextual relationships, the aim is to understand and analyze how the creative process and the aesthetic experience were enriched to find a scenic narrative. This research is embodied, corporeally, in the Flying Low dance technique, the Asymmetrical Motion movement methodology, and Anne Teresa De Keersmaeker's composition tools of rhythm, repetition, and musical impulse.
Construcción de la dramaturgia del personaje Legna a partir de la creación de una partitura de acciones con el objeto en la obra "Sombras de lo inconcluso
(Universidad de Cuenca. Facultad de Artes, 2026-03-10) Pacheco Mendoza, Josseline Viviana; Carrasco Espinoza, Diego Alfonso
The present thesis develops the construction of the dramaturgy of the character “Legna” through the creation of action scores based on objects that function as emotional and psychological references. In this process, the object stops being a simple scenic element and becomes a point of connection that activates the character’s memories, meanings, and inner states. Its history and symbolic weight influence how the body interacts with it and how that bond adds meaning within the scene. From these motivations, material emerges that is then organized, refined, and structured to form the score. This score is not limited to a sequence of movements; it works as an emotional and conceptual pathway that supports the dramaturgy, revealing the character’s inner world, tensions, emptiness, and desires. In this way, the construction of the character develops from the body–object relationship, allowing the dramaturgy to emerge from the sensory and emotional experience of the creative process.
Análisis de la construcción de un procedimiento de creación en la obra “Sombras de lo Inconcluso” para el campo de la dirección escénica, a partir del concepto de objetos documentales de Shaday Larios y la técnica de escritura automática de André Le Breton
(Universidad de Cuenca. Facultad de Artes, 2026-03-09) Araujo Cabrera, Katherine Gissela; San Martín Arévalo, Diego Paúl
This theoretical–practical thesis project is based on the work developed in the course Laboratory of the Creative Process, within Staging I and II. The research focuses on the analysis and systematization of a creative procedure based on the relationship between automatic writing and documentary objects, applied to the process of constructing the work Sombras de lo inconcluso. Throughout the project, the study examines how memory, objects, and improvised actions generate scenic material, and how these elements transform and acquire meaning within the creative process. The work describes and organizes the different stages of the process, from the creation of a personal archive to its transformation into scenic installations. This thesis proposes a clear and practical perspective on how a sensitive and intuitive procedure, sustained through exploration, can give shape to a work built from intimacy, fragmentation, and the unfinished.
El cuerpo como archivo: La memoria y el cuerpo
(Universidad de Cuenca. Facultad de Artes, 2026-02-10) Espejo Gutama, Katherine Cristina; San Martín Arévalo, Diego Paúl
In this thesis titled The Body as Archive: Memory and Body, the aim is to analyze and systematize how the concept of body archive by Bonfim is used to store and express the collective memory of abuse victims. The study examines theatrical techniques that enable the actor's body to become a vehicle for denunciation and testimony, facilitating a profound and meaningful representation of these experiences. The play Documento (San Martín, 2019) stands as an act of denunciation against the inhumane crimes committed by former priest César Cordero Moscoso against children who were part of his educational institutions. Through a dramaturgy that engages with the concept of body archive, the play articulates the perspective of the victims, constructing a scenic poetics that draws from their testimonies and the actor's body as a vessel of memory. This symbiosis between the physical and the verbal not only allows for multiple interpretations but also invites an intimate and moving reflection. Thus, the stage becomes a territory of resistance, where denunciation and collective memory intertwine, giving voice and presence to those who were silenced. The objective of this thesis is to analyze the tools, procedures, and strategies employed in the creation of the theatrical work Documento. The research focuses on breaking down the techniques and methodological processes applied in the conception and development of the artistic project, aiming to provide a deep understanding and critical reflection on the theatrical practice.
Sistematización de un entrenamiento corporal dirigido a un ejercicio de animación de objetos
(Universidad de Cuenca. Facultad de Artes, 2026-02-09) Males Castañeda, José Manuel; Carrasco Espinoza, Diego Alfonso
The thesis pursues as its central objective the systematization of a body training aimed at the animation of objects based on personal experience as an artist: as a theoretical foundation, a referential framework is presented to design and implement training programs and their systematization adapted to the specific needs of performing artists.This framework seeks to develop the skills and coordination necessary to produce high-quality animations. The practical exercise focused on animating a protagonist object, an atomizer, along with other elements such as a basket and a shoe. The process was documented through videos and photographs, enabling the creation of a systematized body-training model. This model has identified key skills and evaluated its effectiveness in improving the efficiency and effectiveness of animation creation. The results demonstrate that systematized training not only enhances animators' coordination and technical skills but also optimizes the creative process. The thesis concludes that this approach can be a valuable tool for animator training, offering a structured and adaptable method to achieve professional standards in object animation.
Entre la rigidez y lo maleable: el tránsito hacia un entrenamiento corporal consciente
(Universidad de Cuenca. Facultad de Artes, 2025-11-24) Pizarro Rosas, Diego Enrique; Ortiz Mosquera, Fidel Ernesto
This thesis studies how different perspectives on dance pedagogy can construct a perspective on the learning process. In dance, of any kind, body awareness is essential for transmitting knowledge to the student, since knowledge of one's own working instrument—the body—is essential for the fulfillment of the learning experience. In this study, it will be relevant to consider traditional dance techniques, which tend to automate mechanical repetition and the construction of an ideal of body and movement. Through a theoretical and procedural review of the author's experience, three fundamental moments in his learning experience will be analyzed: the reproduction of the ideal pattern; the conflict produced by the new somatic experience; and the doubt about what was previously learned; finally, the integration of both, unconsciously at the beginning and consciously at the end. These three moments or stages of learning will allow us to understand the particularity of each learning experience and give each one its appropriate value, without diminishing its importance.
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.
Exploración del concepto jerarquía del tronco y las herramientas de las dimensiones del movimiento; rotación, inclinación y traslación de Étienne Decroux como medio de indagación en la corporalidad de un personaje. Estudio de caso de la obra “La vida nos tiene sin rostro”
(Universidad de Cuenca. Facultad de Artes, 2025-10-06) Santander Orbe, Angel Yasmany; Zavala Lasso, René Patricio
This research will explore the concept of the hierarchy of the trunk of the author Étienne Decroux and his tools of the dimensions of movements as a means of practice and inquiry into the corporeality of the character in the case study of the play “La vida nos tiene sin rostro” (Life has no face). It is proposed through the tools: rotation, inclination, translation to adapt the body in relation to the space and its movement to achieve the creation of a specific body sequence of the character in the development of the play. For this, unit one will analyze in depth the author Étienne Decroux in his concept of the hierarchy of the trunk and his tools of the dimensions of movement, and will also rely on concepts of the authors who have contributed in the field of the work of the body as a means of creation as in the case of Jacques Lecoq. Until two will show the application and use of the concepts through practice in the research-creation of the play “life has no face” telling how the process was, from the use of Decroux´s tools to improve the movement in the scene and how this search is related to the corporeality of the character at the time of giving it a psychological, spatial and gestural characterization.
Arquitectura y escenificación de la mirada constitutiva del otro en la identidad cuencana femenina
(Universidad de Cuenca, 2025-04-24) Mercado Faréz, Margarita Elizabeth; Acurio Vintimilla, María Emilia
This research examines the forms, elements, and conflicts in the enculturation processes of women from Cuenca through the intersection of Performing Arts and Gender Studies. Through discourse analysis, theoretical reflection, and direct observation—particularly focusing on social gestures and bodily attitudes—this work creates a performance piece that explores the architecture of the gaze that constitutes feminine identity in Cuenca, making visible the subtle forms of repression within society in Cuenca. Using auto-ethnography, video-dance, and various movement tools, this study investigates how performing arts, specifically video-dance, functions as a form of healing and resistance against racism and sexism. The creative process culminated in an audiovisual piece that evidences subtle forms of social control, specifically exploring how racism and sexism are expressed and embodied in women's bodies in Cuenca, transforming pain into art and self-affirmation.
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.
Dramaturgia del Desprendimiento: exploración del ejercicio escénico “Cuerpo Relación Palabra y Movimiento” dentro del proceso del laboratorio de investi- gación-creación escénica a partir de la teoría La era del inconsciente de Erik Kandel
(Universidad de Cuenca, 2025-03-27) Heras Aucapiña, Juan José; Ordóñez Matute, Andrés Rigoberto
The present research has the objective of presenting the analysis and systematization of the methodological procedures carried out within the research creation process of the Scenic Creation Laboratory, carried out during the training in the Performing Arts Career of the University of Cuenca, whose result leads to the sample of the scenic exercise “Body, word and Movement” (2017). First, the concept of performing arts laboratory is structured, providing a theoretical practical sense of it, to understand the methodological sense presented, in addition, the analysis underlines procedures used from the experimentation of the body, word and movement, relying on the study of the theory The era of the unconscious of Erik Kandel (2013). Both the scenic sample and the process explores the muscular tensions of the body, from hypertension to total relaxation, generating a Dramaturgy of Detachment, which focuses on the construction of a structural line centered on the concept of detachment, under a process that involves the stripping of garments and associated identities, seeking to reveal the essence of the human being by stripping it of social constructions. The proposed exercise moves away from the traditional conception of configuring a final finished result, but rather creates spaces for dialogue and reflection on the part of the spectator, changing and refor-mulating its structure from their contributions; in this way, a singular process of assuming and experiencing the reality and identity of the spectator and performer is constructed. In this sense, this research creates new dimensions and contributions in relation to the vindication of laboratory practices as an expanded format of permanent construction.

Browse

Recent Submissions