Examinando por Autor "Romero Rey, Sandro"
Mostrando 1 - 20 de 38
- Resultados por página
- Opciones de ordenación
Ítem Actualización de un texto clásico - Romeo y Julieta- desde la labor del director de teatro.Lizarazo Díaz, Karen Yulieth; Romero Rey, SandroHow and from where should a theater director approach the montage of a classic work so that it is attractive today? How to update it? These are the questions that move this research, seeking to write in this work the answers that it finds to solve this dilemma that is increasingly present among contemporary directors, to make these great works speak and forcefully stage the problems of our time. To develop this work we will use the work of William Shakespeare Romeo and Juliet.Ítem El arte en míHernández Ávila, Cristina; Romero Rey, SandroIn this text I manifest my personal experience in the artistic field, my beginnings in the world of theater and how, from a series of questions, I assumed an academic process in performing arts and its influence in my training process. Subsequently, I perform an analysis of the grade assembly called Alba and Berta.Ítem Colombia como escenario : la guerra y la paz, territorios teatrales.Jaimes Abril, Gina Brigitte; Romero Rey, SandroThe following degree work includes, not only a highly percentage of an actress life memories whom chose to course the masters artistic studies degree of the ASAB arts faculty, but also a reparation, dignification and memory process, besides an investigation work that leads truly intimate encounters about someone’s life, someone that could be considered the “enemy” “murder” or “terrorist” by many people, but for her and for those around him he was an artist, a dreamer, a poet and an author. For those who believe in the need for social justice and equity, for sure he would be considered the seed of a stable and everlasting peace. (Or the seed that builds a stable and long lasting peace of the country.)Ítem Colombia: ¿una sociedad trágica?(Universidad Distrital Francisco José de Caldas) Romero Rey, SandroÍtem Comunicación no verbal en el teatro. El subtexto del vestuario.Escobar Álvarez, Vanessa; Romero Rey, SandroThe following study aims to analyze and verify the importance costumes should have in theatrical scene, based on the strong communication exercised by dressed body in real life, taking as start point the most important historical events in human history. Each stage that human being has passed, has left signs that tell us about historical events that our ancestors went through and give us a reason to each garment they used. This thesis proposes a communication analysis our ancestors generated and we currently generate with others in life when we see a dressed body, to transform and transfer this language to the stage. Theatrical wardrobe does not need to be a living copy of what we see in life because it does not seek plausibility, but depends on the approach given by the director or the group. Not all plays have realistic costumes, but reality can be a great source of inspiration because of the amount of semiotic possibilities that, like it or not, are always being communicated and, like the words we use in verbal communication, it can be used in favor or against of themselves and of the observers in life and, of course, in theatrical scene. It also seeks to expose the influence that wardrobe has on actor's behavior in their daily life, the different readings and stories that observer creates, in addition to the strong capacity it has to show or hide who we are or who we want to be. Unfortunately, in some occasions it is left to the finish of the creative process or it is strongly judged as superficial, and although it is clearly what we see on surface: the costumes go beyond the form and have a big relation with the thinking of the character or who uses it. It should be clarified that creation should not remain only focused on clothing, it is about dressing ideas, the soul that we are creating; as well as throughout life we choose what to use based on our economic condition, life experiences and many aspects that cross through our life: music, religion, climate, etc. The actor must take all these factors into account when dressing his character, since the costumes transmit his psychology to the audience, the job of the actress and the actor is to make the essential of the character visible to all senses of the viewer. In the Faculty of Arts-ASAB, unfortunately there is not a class focused on the study and creation of theatrical costumes, which leaves the actor with this deficiency during the career, so we hope that a course with these characteristics be added to the required curriculum.Ítem Cruce de caminos(Universidad Distrital Francisco José de Caldas) Bustos Gómez, Marta Lucía; Peñuela, Jorge; Romero Rey, SandroFirst of all, this volume opens with a text in which Professor Marta Bustos establishes models to castigate the lendable ideas that exist regarding culture and peace. For many years there has been an instrumentalization of art and, in a broader environment, it has been considered in the abstract that the levels of well-being of Colombian society lie in the number of civilized injections that we can apply to the social fabric. In the present text, a tour is made of the evolution in our history of norms, the steps have been taken to understand the way in which cultural processes are integrated into the need for "the longed-for peace", as it has been called in many documents. official and academic reflections. The big problem with a canonical idea of culture is that it ends up becoming a thousand-headed monster that ultimately loses the deep resources that derive its essence from it. Peace needs culture in rhetorical terms but, when it begins to be implemented, it seems to disappear in the ambiguity of the desks. According to Marta Bustos, the new definitions of the different criteria of culture and their relationship with the reconciliation processes in Colombia began to be designed systematically from the 1990s. In the text, you can see different stages lived in the governments from the decades of transition to the new millennium until, as the peace process gained ground, the idea of culture began to be systematized.Ítem Cuando el muro se cayó : ¿es o no teatro el concierto the wall de Pink Floyd? La teatralidad en su puesta en escena.Carvajal Rueda, Jorge Esteban; Romero Rey, SandroPink Floyd como grupo musical se ha caracterizado por su afán de mezclar rock y un gran número de recursos teatrales en sus conciertos. Se considera The Wall como su ópera magna y en su puesta en escena se pueden ver una gran cantidad de elementos que acuden a la teatralidad para narrar la tragicomedia de Pink, personaje principal del álbum conceptual. Si tenemos en cuenta todos estos mecanismos escénicos y la gran ambición que tuvo el grupo al llevar a escena esta historia ¿Podríamos calificar el concierto The Wall del grupo Pink Floyd como una pieza teatral? A lo largo de este trabajo se escudriñará en la vida del grupo para evidenciar su desarrollo artístico y aprender de primera mano cómo fue su evolución a través de los años, cohesionando la música rock con la teatralidad intrínseca en sus conciertos, como también los conceptos de teóricos del teatro como Domingo Adame, Tadeusz Kowsan, Jorge Dubatti y Joseph Féral con el fin de descifrar concienzudamente los diferentes fenómenos estéticos y artísticos bajos los cuales se fundamenta esta puesta en escena y así responder a la pregunta ¿Es o no teatro el concierto The Wall de Pink Floyd?Ítem De la calle a las tablas. Dramaturgia sobre la prostitución masculina en BogotáLugo Barrios, Santiago Ernesto; Romero Rey, SandroThis project arises from the premise that two different disciplines can be twinned: journalism and theatre. For this purpose, a dramaturgy was carried out in which he realizes the findings of a journalistic investigation into male prostitution in Bogotá. A subject that demanded to be addressed in a different way, given the systematic discrimination of society and the institutionality suffered by these subjects, who need to raise their own voice and tell their experiences. The data collected on the spaces where the prostitutes interact, the practices they have, and the problems that afflict them, are accompanied by a file analysis on the phenomena surrounding this trade (sexual practices, homosexuality, drug addiction, among others), allowing to establish a panorama on this phenomenon in the capital. The dramaturgy resulting from this research is framed in the documentary theatre, in which the archives and the voices rescued first hand become the raw material for the construction of a scenic product that is erected taking into account the reverberations of the reality he wants to represent.Ítem De la presencia al cuerpoCarrasco Barbosa, Tabata Catherine; Romero Rey, SandroThis work is fundamentally the search and inquiry about the construction of a character through the actor´s eyes and presence on stage. the theatre of presenting, proposes the creation starting with the actor´s scenic presence, therefore in this document I take a close look to the seven acting forms outlined by Jean-Frédéric Chevallier, which means that we´ll refer to the actor that must not act and should only be present. For this analysis I take as source the piece "Aforismo Intempestivo" 3-41 (2015) developed in the Scenic Arts Curricular Project of the Universidad Distrital Francisco José de Caldas.Ítem De las tablas al platóTorres Velandia, Alexandra Marcela; Romero Rey, SandroThe stimuli, all, in a certain measure we need them: those tangible or intangible sensations that impel us to carry out any business, be it winning a race, embarking on a new journey or changing the course of our lives. Every action that we have carried out and will carry out without any doubt is preceded by one or several of these "characters", and it is just part of what I want to outline through these lines. They - the stimuli - are usually the same, however, the effect they have on each of us depends greatly on our character and temperament, which means that the same stimulus can generate a different reaction in each individual and from there The need arises for each artist, each actor, to generate their own response to the different stimuli, either through techniques or methods that are adjusted to maximize their performance, either in the tables or the set. In this document, the reader can find sufficient theoretical support to know and understand the different techniques that exist to achieve a good performance in any scenario. However, my purpose is to urge readers to generate their own techniques, based on their self-knowledge, in order to achieve their best performance and, in the best of cases, to get in sync with this great work called life, which does not allow previous trials.Ítem Desafíos: El teatro itinerante del Sol(Universidad Distrital Francisco José de Caldas) Romero Rey, SandroÍtem La dramaturgia en el circo contemporáneoRamirez Riaño, Daniela; Romero Rey, SandroWith this investigative work I inquire about dramaturgy, its components and aspects. In light of this, I observe the treatment that the contemporary circus makes of it in its creations, using 2 international and two local examples. My starting question is how to use dramaturgy in the function of a circus show?Ítem La dramaturgia en el circo contemporáneoRamirez Riaño, Daniela; Romero Rey, SandroA tour of the contemporary circus that feeds on theatrical languages, among which the use of dramaturgy for its creations stands out, we analyze 4 groups, two international and two national.Ítem Dramaturgy in the academy: inside the theater within the theater(Universidad Distrital Francisco José de Caldas) Romero Rey, SandroÍtem Elogio del aburrimiento(Universidad Distrital Francisco José de Caldas) Romero Rey, SandroÍtem “Encuentra tu voz payaseando,” Recopilación de posibles “técnicas” en la voz del payaso de circo tradicionalJiménez Pinzón, Jeimy Katherine; Romero Rey, SandroThis work is an appetizer to the training or the technique used by the clowns of the traditional circus, from here they can start many questions and even answers about the possible similarities between the vocal techniques used in the theater. As in all arts, the possibility of creation in front of any field allows different currents and ways of exploration to exist; at the level of the voice, we can notice that the field of study is gigantic and offers many ways to face the trainings; However, the voice does not work without the phonetic device, which means that almost all of us use our breathing in our vocal warm-up sessions, thus achieving a glimpse of one of the main similarities in the trainings of singing, theater and circus.Ítem Entrenamiento corporal en función de la creación de un personajeMurillo Rondon, Diego Fernando; Romero Rey, SandroWithin the academy it was possible to observe that the performing arts students of the ASAB arts faculty must implement a body training that allows a much more relevant development of the actor's activity that is fundamental for the scenic creation. But at what level does the student appropriate his training and inquire about him for the construction of a character? Two acting methodologies were taken as a basis through which it is sought to investigate: how the applicability of a body training strengthens the actor's shortcomings when it comes to the construction of a character.Ítem Entrenamiento corporal en función de la creación de un personajeMurillo Rondón, Diego Fernando; Romero Rey, SandroWithin the academy, it was observed that the performing arts students of the ASAB arts faculty must implement a body training that allows a development much more pertinent to the activity of the actor that is fundamental for the scenic creation. But at what level does the student appropriate their training and inquire about it for construction of a character? Two acting methodologies were used as a basis through which seeks to investigate: how the applicability of a body workout strengthens the flaws of the actor when building a character.Ítem Entrenamiento, vehículo del potencial creativoSánchez Camargo, Ingrid Paola; Romero Rey, SandroThe exercises carried out by an actor or actress to build a stage body, are a set of practices that serve to prepare and transform, educate and arrange your body, voice and emotions for the practice of a scenic activity. In this way, training has been its vehicle of learning. It is relevant that every actor and actress knows that in his personal and / or collective essay is where he can achieve the preparation, practice, exploration and improvement of his body as a work tool and thus achieve energy, vitality, strength and dexterity necessary to captivate with his work on stage. The technique learned and / or sought after that each actor finds to appropriate his work would be a process that is unknown to the viewer, although his path and purpose is related to it. Barba (1992) would call it pre-expressiveness, which means the vocal and corporal activity that takes place without even thinking about a spectator. In this way, what it is for the scene and of course for the show, is the presence of the actor and the life that it gives to a character, it can be said that a large part of the conquest of an audience on stage is given to how the actor achieves that the theater is an experience extracted from reality but enriched in such a way that they feel living a different experience and likewise the public appreciates it.Ítem Estudios artísticos: Trayectos y contextos(Universidad Distrital Francisco José de Caldas) Niño Morales, Santiago; Lambuley Alférez, Édgar Ricardo; Gómez Moreno, Pedro Pablo; Romero Rey, Sandro; Casimir, JeanA journey is a journey with a beginning and an end. That is, with a point of. That point of arrival, for its part, tacitly implies an encounter. A meeting of filiations and distances that, from different routes, constitutes the reason for a trip in which reflection is the essential tool to establish connections and, why not, new questions to configure the territory covered. On the other hand, there are the contexts, the baggage, the past that explains and, at the same time, determines the distances or the proximity of the respective paths in which the travelers realize that the journey is not alone. And much less when these paths are traced within the parameters of art and culture. There is, if you will, a kind of generational imprint through a journey in which denominations such as academia, thought, society, capital or development are questioned and redefined from the perspective of a group of thinkers who give them return to their respective experiences to find, in the framework of their questions, a new field for action.