Artes Escénicas-Pregrado
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Item 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 ErnestoThis 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.Item 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 PaúlThis 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.Item 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 PatricioThis 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.Item 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 EmiliaThis 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.Item 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 PatricioThis 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.Item 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 RigobertoThe 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.Item Construcción de la estructura dramática en la obra "Almas allá": el uso de las nociones del teatro del absurdo de Martín Esslin y su aporte en la construcción dramatúrgica(Universidad de Cuenca, 2025-03-24) Oñate Pico, Jennifer Salomé; León Aguilera, Karla DeniseThe project was born from the framework of the research laboratory process within the performing arts career at the University of Cuenca. Within this extensive process we found one of the central elements of creation: the theater of the absurd. Almas allá embodies this principle by dismantling the linear and coherent plot, presenting instead a succession of seemingly random and illogical situations, incomprehensible to the characters and their lifestyle, thus inviting us to contemplate the absurdity inherent in existence. Through the analysis of this device, this thesis demonstrates how the principles of the theater of the absurd postulated by Esslin materialized in the creative process, resulting in a play that challenges our perception of reality and invites us to explore the depths of the human condition. Through the analysis of this device, this thesis demonstrates how the principles of the theater of the absurd postulated by Esslin materialized in the creative process resulting in a play that challenges our perception of reality and invites us to explore the depths of the human condition. In addition, it shows how each of the proposed elements are linked to create the proposed fictional logic and how it is achieved in this scenic exercise.Item 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 PatricioThis 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.Item Entre juicios y prejuicios: improvisación cuerpo-objeto en la creación de una partitura corporal(Universidad de Cuenca, 2025-03-18) Coronel Fernández, Doris Juliana; Pacheco Rubio, María BelénThis curricular integration project aims to analyze, from the role of creator/interpreter, the application of various practical tools for composition and creation that intertwine with the concepts of improvisation according to Eugenio Barba, as discussed in his book "Theatre Anthropology," in favor of building a bodily score in the creative theatrical-actorial exercise. In this research-creation process, the starting point is improvisation with an object, motivated by the actions of society where humans strive to fit in and live with their greatest fears, due to being in a reality that is so constricting and judgmental at the slightest mistake. With this premise, tools from the body-object relationship are used for the composition of a bodily score.Item Construcción del personaje Ana en la obra Grito Colectivo a partir de la herramienta de Equilibrio Precario(Universidad de Cuenca, 2025-03-18) Vásconez Neira, Ana Gabriela; Luje Morales, Edwin MarceloThis thesis aims to address the context in which the Precarious Equilibrium tool is developed. Therefore, Theatrical Anthropology is an essential element to better understand the concept of Precarious Equilibrium and in turn compare this new approach in creation, in comparison with the old ways of theater creation that have been developed through time. However, the main topic is how this tool called Precarious Equilibrium has influenced the construction of the main physical and emotional characteristics and the composition of the character “Ana” in the play “Grito Colectivo”. This work combines various concepts from the technical, sensitive and theoretical part, which are linked to form a fabric and thus show a process of creation through specific methodologies.Item Construcción de partituras corporales a partir de la sistematización de los conceptos cuerpo sensible y las herramientas de dibujo y repetición de Ana Teresa De Keersmaeker en el actante para la instalación “sientes la fisura”(Universidad de Cuenca, 2025-03-17) Pesántez Castillo, Emly Marlene; Pacheco Rubio, María BelénIn the laboratory professorship, the process of creation of the installation "You feel the fissure" was carried out, inspired by the concept of the sensitive body, which was taken from the book The Nature of Force by Roxana Galán, also using the tools of repetition and drawing by Ana Teresa De Keersmaeker for the construction of corporal scores. For this thesis I propose to relate the concepts of body, sensitive body, drawing and repetition of the mentioned authors in relation to my work; synthesizing the research carried out, with the purpose of allowing to analyze in a theoretical and practical way the process of creation of the installation "You feel the fissure".Item El uso de los cinco ritmos de Gabrielle Roth para construir la interpretación corporal de la historia de Ximena del libro “Rompiendo el silencio de niñas, niños y adolescentes ejecutados políticos durante la dictadura cívico militar: 1973-1990”, en la creación escénica “Vuelta de cabeza, volamos la cabeza”(Universidad de Cuenca, 2025-03-12) Barros Crespo, María Rubí; Ordóñez Matute, Andrés RigobertoThis research investigates the creation of a corporal interpretation linked to the historical memory of the Chilean dictatorship (1973-1990), focusing on the figure of Ximena Pizarro, a 7-year-old girl murdered during that period. Through the investigation of historical and testimonial stories and the document “Breaking the silence of children and adolescents executed during the civil-military dictatorship: 1973-1990” (2023), of the Agrupación de Familiares de Ejecutados Políticos, dance is used as a language of denunciation and reflection, with the objective of making visible stories of political violence.The methodological sense created, combines the practice with the theory of the Five Rhythms of Gabrielle Roth, as a tool that connects emotions and external experiences with the corporal narration. Through the scenic laboratory, a body is generated as a living archive, where the historical text is transformed into movement and memory on stage, integrating elements of contemporary dance and Hip Hop, applying a systematization process that allows recording and reflecting on the artistic creation. The work Vuelta de cabeza, volamos la cabeza (2024), is formed as a result of the work done, which uses the body as an interface that exposes the hidden realities of the Chilean dictatorship, proposing a sensory experience that activates the collective and personal memory of the public, creating a reflection on the value of historical memory and demonstrating the power of the performing arts as a means of denunciation and social transformation.Item La construcción del personaje Sofía en la obra “Grito Colectivo” a través de las herramientas: circunstancias dadas, sí mágico y el súper objetivo propuestas por Konstantin Stanislavski(Universidad de Cuenca, 2025-03-12) Bernal Silva, Camila Alejandra; León Aguilera, Karla DeniseThis qualitative research systematizes the creation of the character Sofia in the play "Grito Colectivo," which proposes intersectional feminism as an alternative to liberal feminism. Using the method tools proposed by Konstantin Stanislavski such as given circumstances, magic if, and Super-objective, and the ethnographic tool of participant observation as inspiration for Sofia's actions in liberal feminist spaces, a character was constructed that embodies and criticizes the contradictions of this discourse taken from the text of "Grito Colectivo." The convergence of these tools allowed for the transformation of complex theoretical narratives into an accessible and reflective theatrical experience, where Sofia personifies, through satire, the tensions between different feminist perspectives, questioning the limitations of liberal feminism from an intersectional approach that recognizes the multiple oppressions that women face.Item 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 RigobertoThe 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.Item Explorando las sinergias creativas: el diálogo entre la partitura de improvisación de la metodología Viewpoints de Anne Bogart y la instalación performática “Aire” en el proyecto “Rizoma: La Quinta Estepa”(Universidad de Cuenca, 2025-03-11) Astudillo Machuca, Adriana Jessenia; Carrasco Espinoza, Diego AlfonsoThis research explores the creative synergies that arise from the dialogue between the improvisational score constructed from Anne Bogart's Viewpoints methodology and the performance installation "Aire" within the interdisciplinary artistic project "Rizoma". It focuses on how the principles of kinesthetic response proposed by Viewpoints, which provide guidelines for improvisation and facilitate creative dialogue, can be applied in the construction of an improvisational score that relates to and integrates with the unique space of the "Aire" installation. The techniques and methods used have been an integral part of my training as a performing artist, acquired during my career in the Performing Arts Degree at the University of Cuenca. In addition to individual processes, the interdisciplinary collective work that impacts and shapes the final result of the work is examined.Item Aplicación de la herramienta de las acciones físicas de Stanislavski en la creación del personaje “Eva”, en la Obra “Almas allá”(Universidad de Cuenca, 2025-03-11) Vásquez Solano, Karla Nathaly; Luje Morales, Edwin MarceloThis research work on the creation of the play “Almas Allá” specifically addresses the process of character development by an actress who deeply connects with her role through the implementation of physical theater techniques and tools learned within the Performing Arts program at the University of Cuenca. In particular, it highlights the significant contribution of Stanislavsky’s Method of Physical Actions, which serves as a solid foundation for character creation and interpretation. This foundation is further deepened, refined, and enriched through the incorporation of additional techniques such as improvisation, communication, movement, and stage awareness, as proposed by Rudolf Von Laban and Jerzy Grotowski. This integrated and well-structured combination of techniques allows for an organic development of the character, where emotions, actions on stage, gestures, movements, and facial expressions are carefully arranged into a specific score. This approach enables a clear identification of the character’s psychology through their actions on stage. The result is a theoretical-practical research-creation process that, collectively, presents a play addressing humanity’s obsession with representation and perfection. From certain perspectives, this pursuit can lead to ridicule and absurdity in our daily lives. It remains a pressing issue for individuals immersed in a system and digital social networks that distort reality, making us believe we are something different while simultaneously pressuring us to fit into a predefined mold. This exploration, framed within an absurdist perspective, invites us to reconsider our perception of belonging in a world where we are just another soul.Item La influencia de la filosofía del rizoma propuesta por Guilles Deleuze y Félix Guattari en el desarrollo de la sonoturgia dentro de un circuito performático(Universidad de Cuenca, 2025-03-10) Sánchez Morocho, Víctor Hugo; Bustos Criollo, Jessica CristinaThis study explores how the philosophy of the rhizome, proposed by philosopher Gilles Deleuze and psychoanalyst Félix Guattari, influences the development of the sonoturgy in the performative circuit “La Quinta Estepa”. The concept of the rhizome is a metaphor borrowed from botany and presented in the book “A Thousand Plateaus” (Guattari, 1980). Deleuze and Guattari use it to describe systems of thought that are non-linear, multiple, and decentralized, which can be applied to the production, design, and experience of sound within the realms of performance and performing arts. The rhizomatic sonoturgy, as proposed in this study, is a creative approach characterized by its open and non-linear methodology. It does not follow predefined scores or structures but emerges from the direct interaction between sound, visual, and corporeal elements within the creative process. This approach seeks to generate a constant interconnection between sound, space, and movements, allowing each element to inspire and transform the others. Essentially, rhizomatic sonoturgy prioritizes the exploration of unexpected and asignifying relationships that enrich scenic narratives and stimulate new forms of expressiveness in contemporary art.Item Bajo la Sombra de lo Desconocido: la mirada del director en el proceso creativo, desde el estudio auto-etnográfico, diseño escénico, la Memoria Emotiva de K. Stanislavski y los 5Ritmos de G. Roth(Universidad de Cuenca, 2025-03-06) Guaraca Muñoz, Anthony Esteban; Ortiz Mosquera, Fidel ErnestoThis curricular integration work analyzes in detail, from the director's perspective, the creative process of the piece Bajo la Sombra de lo Desconocido, produced during two semesters, within the subject Research of the creation process. For this purpose, training, research and creation tools were used such as the ethnographic study applied to the performer, Stanislavski's acting method and the use of Gabrielle Roth's 5Rythms. The scenic materials generated from these techniques were also organized with the assistance of Scenic Design, understood as the articulating entity of the scenic elements: scenography, lighting, sound and costumes, to complement and finish configuring the dramaturgical and aesthetic proposal.Item Sistematización de una dramaturgia visual a partir de la noción enfoque visual y creación de una puesta en escena que surja de la misma, atravesando la memoria de la autora, obra que se denominará: Recuerdo tu sabor(Universidad de Cuenca, 2025-02-04) Espinoza Murillo, Geovanna Carolina; Donoso López, Clarita del RocíoThe present work deals with the creation from the visual approach in the scene, research that arose within the chair of Laboratory of the Performing Arts Career at the University of Cuenca. The approach of the gaze is approached from the interpretative and expectant place of the author. From this observation has emerged a dramaturgy of scenic creation that applies and analyzes the poetic entities involved, also a staging has been generated with this theoretical systematization and with the memory of the author, which is called: “I remember your taste.”Item Aplicación del concepto sí mágico de Konstantin Stanislavsky durante el proceso de caracterización del personaje Talla Huesos dentro del proyecto Cuenca en Cuentos del Colectivo Artístico Barojo(Universidad de Cuenca, 2024-10-28) Peñaloza Guzmán, Edisson Patricio; Carrasco Espinoza, Diego AlfonsoIn this paper, the concept of "magic if" is developed for the construction of the character Talla Huesos from the city of Cuenca. Within this framework, one of the invisible characters of the locality was brought to the stage, thus recognizing their value and cultural contribution through this project and introducing them to the local scene. To achieve this, qualitative research was conducted, gathering interviews, anecdotes, reports, documentaries, and more, in order to comprehensively understand our character. Consequently, the concept of "magic if" was applied in the character's construction, which propelled the actor's work on stage by providing authenticity to the performance in line with a character considered both rebellious and supportive within the conventionalist society of Cuenca in the 1980s and 1990s