Artes Escénicas
URI permanente para esta colecciónhttp://hdl.handle.net/11349/2057
Examinar
Envíos recientes
Ítem Reflexiones de una actriz pragmática montando un existencialista con un director britanico(Universidad Distrital Francisco José de Caldas) Rojas Amaya, Valeria Stefania; Sánchez Gutiérrez , Rafael Alfonso; Sánchez Gutiérrez, Rafael Alfonso [0000-0003-0092-7095]In this document, I present a compilation of my process and development as an actress during my training at the Francisco José de Caldas District University, Faculty of Arts ASAB. Focusing mainly on the work made from my degree montage “CALIGULA”. by Albert Camus, under the direction of the British director Mark James Maughan. My goal has been to expose the aspects that I developed before, during and after the theatrical performances made, detailing my process from the initial investigation of the character to its incarnation on stage, providing a comprehensive vision of my evolution as a performer throughout of my process as an acting student at the Francisco José de Caldas District University, ASAB Faculty of Arts.Ítem El Parkour de la acción escénica actoral (El concepto de recorrido aplicado a la acción teatral)(Universidad Distrital Francisco José de Caldas) Bedoya Forero, Gary Leonardo; Vargas Robalino, John EdwinThis work is a brief walktrough around David Belle´s theory on the development of parkour and the main elements of theatrical scenic creations. It presents the convergence found in the making and staging of an acting physical action and the performance in a parkour line; both concepts connected by one common factor, the atribute to be used as a tool in the making process, and that can be visible as the outcome amid the staging: the path.Ítem La importancia de la música para una obra o escena teatral(Universidad Distrital Francisco José de Caldas) Ascanio Cortés, Laura Marcela; Rodríguez Bejarano, IgnacioThe objective of this memory document is to introduce performing arts students from any part of the world to some basic tools for the musicalization of a theatrical work, based on the analysis of postulates of several prominent theorists who have developed studies on music on the scene. such as Jorge Fonte, Tarkovsky, Dalcroze and Copland and linking some aspects that Santiago García proposes in his dramaturgical categories with music for the scene. Furthermore, it is a work that invites the development of the musical ear for the benefit of scene construction since I perceive an abandonment of this aspect in the acting training institutions where I have been where the development of bodily, vocal or interpretive skills is prioritized but they usually leave this first one aside. Understanding music not as a complement but as a fundamental component for the theater scene, the final purpose is to develop a “dodecalogue” through the conclusions I obtain where I will expose the ways found for musicalization in the scene tied with my experience as actress, director and musician.Ítem La acción en la obra "aquello que se escuchó" desde la mirada de la neurofisiologíaMoreno Romero , Judy Katherine; Martínez Santos, Sirley Yolima; Martínez Santos, Sirley Yolima [0009-0000-9274-4821]The research presented addresses the importance of awareness of the actions executed “in scene” during the creative process. It focuses on the neurophysiology of action from the theater, taking as a starting point the undergraduate production "Aquello que se escuchó", directed by Luis Aros. The main objective is to reflect on the efficiency of the actions that were performed in the work and the impact on the public, considering the diversity of action types and their capacity to impact the public. It seeks to explore a deeper connection with the audience and in this way activating their mirror neurons through the analysis of the logbook throughout the creative process with relation to specific theories that have allowed us to begin the performance arts training process.Ítem ¿Qué hay ahí fuera del margen de mi mirada, en las sombras?Cuevas Cerquera , Natalia Karolina; Gallego Hernández , Dubián Darío; Gallego Hernández, Dubián Darío [0009-0007-5937-7741]This auto-fiction is a tribute to my father and also to Georges Perec's book, I REMEMBER. Images, photographs and illustrations accompany fictions and memories of love and pain. The auto-fiction is divided into two parts. The first part is a hundred memories with my dad: positive memories, negative memories... a little bit of everything; There I tell (from my role as daughter) what the relationship my dad and I had was like (before, during and after his murder). The second part is one hundred memories within the work: Aquello que se Escuchó (degree montage in which I participated); There I tell (from my role as an actress) my experience within the montage, what my work tools were and how my father becomes my main reference. My father in the play Aquello que se Escuchó is my main reference, my objective and my secret as an actress.Ítem Informe de pasantía en IDARTES en la gerencia de arte dramáticoMéndez Urrego, Juan Felipe; Gallego Hernández, Dubián Darío; Gallego Hernández, Dubián Darío [0009-0007-5937-7741]This internship report documents my experience at the Dramatic Arts Management Department of IDARTES, where I participated in key programs such as the 2023 District Program of Concerted Theaters and the XVIII Bogotá Theater and Circus Festival. I acquired skills in strategic planning, project management, and cultural event documentation while collaborating on inclusive projects that promoted accessibility and diversity in the performing arts. Despite facing challenges, such as adapting to information systematization mechanisms, I was able to apply theoretical knowledge from my academic training and develop new competencies in cultural management, highlighting the importance of public entities in supporting culture and strengthening my commitment to cultural promotion and public management in the artistic field.Ítem Jolgorio Kaprino, venturas y desventuras de crear un colectivo artístico multidisciplinar para alterar el cuerpo masivo en Bogotá.Forero Bueno, Andres Sebastian; Rodríguez Bejarano, Marco IgnacioJolgorio Kaprino is an emerging artistic collective from the city of Bogota, born in the year 2022, co-directed by Harún Rodríguez and Sebastián Forero. This text explores, through the point of view of this directors, the process of creation and development of the collective, pursuing the goal of altering the massive body of the city through interdisciplinary artistic encounter. This through two languages; one dramaturgical and the other analytical. Reflecting the research-creation process of three happening-type works, as well as months of dialogues about this praxis and the theoretical principles that support it. Navigating through a theatrical metaphor that is a vessel to criticize the management of directors and their stances towards stage direction.Ítem La conciencia corporal: procesos de formación del estudiante de actuaciónDíaz Martínez, Mónica; Díaz Martínez, Ivonne; Vargas Robalino, John EdwinThe present research project is developed to analyze the academic space Dramaturgies of the Body, a subject that belongs to the sixth semester of the Performing Arts curricular project, which collects and synthesizes the contents of the previous five subjects of the Body area and that aims to solidify the kinetic knowledge of the actors and actresses of the curricular project of the Faculty of Arts - ASAB. From the analysis of these contents, it is intended to identify those elements that contribute to the development and exploration of the body awareness of actors and actresses, in favor of body and acting work. Finally, it is intended to generate a reflection on the importance of this academic space in the development of body awareness of actors and actresses, which is not limited to the academic field, but extends to life itself.Ítem Modellbuch sobre el proceso de creación en el montaje "less dieciséis"Padilla González, Oscar Hernando; Martínez Santos, Sirley Yolima; [0009-0000-9274-4821]This report is written as a Modelbook collects the experiences lived in the production LESS 16 directed by Sebastián Uribe Tobón. The format chosen for the report allows a greater depth within the process of reflection to which I want to point. The central theme on which this document unfolds is the collective creation method proposed by the director, which despite being influenced by Enrique Buenaventura, focuses more on what he calls "the anarchization of the actor". This is a term that is born from the acting method practiced by Hugo Afanador and that mixes knowledge acquired by the director in the Jorge Eines school.Ítem Memoria del proceso de creación y escritura del monólogo “técnicas de crianza”.Morales García, David Alejandro; Gallego Hernández , Dubián Darío; [0009-0007-5937-7741]This work narrates the process of creating the monologue: "Parenting techniques", by the student David Alejandro Morales, from the initial question that is focused on What is masculinity?, Through theoretical research, the creative laboratory, consolidation of dramaturgy, montage and staging. Through this active reflection we turn our gaze on what it means to be a man in contemporary times.Ítem La perspectiva de la psique en la actuación: técnicas escénicas y habilidades para la vida en el montaje contra el progreso(Universidad Distrital Francisco José de Caldas) Torres Acuña , Angie Lorena; Gonzalez Suarez , Isis Exsury; Gonzalez Suarez , Isis Exsury [0009-0000-2272-1528]“The perspective of the psyche in acting: performing techniques and life skills in the production Against Progress.” is the documentation of the character creation process by the student Angie Lorena Torres Acuña for the Grade II Work using as a premise the concept of psyche in the acting techniques of Stanislavski, Meisner, Strasberg and Chekhov, which allows her to choose the appropriate tools to develop the psychology of a character who is affected by the complexities that a mental disorder entails, and to seek, through life skills, a self-care strategy based on self-knowledge, recognizing the importance of them for both actors , as for non-actors. The objective is to reflect on what to do to generate three-dimensional characters without affecting the interpreter.Ítem La pasión de cristo según el departamento de Boyacá: teatro, religión y tradición(Universidad Distrital Francisco José de Caldas) Correa Beltrán, Amaranta; Pautt Vega, FernandoThis research has the purpose of make visible the theatrical representations of popular character realize in the Boyacá department during the "Semana Santa" (Easter holidays in Colombia) during that they stage the passion and death of Jesus Christ, religius-theatrical representations that subsist in the core of the Countryside people, popular and deeply religious traditions. This research holds an investigation about the theater used as a ritual for the Catholic religion in both the Middle Ages and the Spanish colony in Colombia, also a count of the facts that demonstrate the social and spiritual importance of the "Semana Santa" in the world and in Colombia that build the foundations of these plays of the Boyacá's tradition. Through an analysis of the theatrical elements on the 3 of the oldest, and currently active, representations realize in Boyacá: "Viacrucis en vivo" at the town of Jenesano, "Semana Santa a lo vivo" at the town of Sáchica and "Semana Santa en vivo" by Almateatro Company that is done all over Boyacá. And lastly a reflection is done about the popular character of this representations in relation with the professional theater practice.Ítem Bitácora del proceso de creación e interpretación del monólogo MaliakTrochez Fuentes, Angela Natalia; Rodriguez Bejarano, Marco IgnacioThis degree project focuses on the process of creating and interpreting the monologue "Maliak" as a fundamental tool to strengthen acting skills and overcome weaknesses present in acting. Through a practical and thoughtful approach, the development of an original monologue is documented, analyzing how each stage of the process contributes to the artistic and acting growth of the actress.Ítem El paradójico mundo de los hijos del fango.Sánchez Cañon, Ingrid Yesenia; Illera Sarmiento, SebastiánEl paradójico mundo de los hijos del fango of the mud is a play that premiered in April of the year (2022) with a cast of five actors, an assistant director, a production assistant and a musical designer, all within the framework to stage this work that was born in the confines of the pandemic with the purpose of taking it to the stage, the first investigation is carried out based on its main theme: THE VIOLENCE against of children in Colombia, especially those who have disappeared from the tragedy of November 15, 1985.Ítem Memoria de creación: Alba Layla, la plantadora del sonReyes Castro, Laura Isabel; Sánchez Gutiérrez, Rafael Alfonso; Sánchez Gutiérrez, Rafael Alfonso [0000-0003-0092-7095]The present work aims to collect information and make a memory of creation about the process of the monologue Alba Layla: La Plantadora del Son, carried out by the actress in training Laura Isabel Reyes Castro between the years 2020 and 2021, seeking to study the transformations that this process had. performing it in the virtual mode, taking into account that prior to the Covid-19 pandemic, the tools provided by the Performing Arts program were designed for acting in theater, not for camera, this triggered some challenges and discoveries in the development of the creative process on acting and the demands of theatrical and audiovisual language, derived from the social and individual context.Ítem "Más de dos décadas de brega" - Corporación ChanguaNoreña Zambrano, Banach; Illera, SebastianCustom dictates that from time to time, groups, institutions, alliances or organizations of people gather to celebrate the results and the time invested in their projects and achievements. In this time, the reason is 21 years of uninterrupted work in the theatrical profession as well as the scope of a multidisciplinary exploration that develops languages and formats such as radio and audiovisual. Processes rigorously completed and supported under the parameters resulting from the fusion between art, science, technology and society. A total of 21 years have passed since the birth of the first work produced and premiered in 2002, until the date on which this document is published, year 2023. However, 21 being a number imprecise, we will talk about “more than two decades” of life and work materialized in the trajectory of a Corporation that decisively proclaims itself irreverent from its name to the way in which develop your exercise. This compilation presented is a documentary memory of 21 years of work of the Corporation Changua.Ítem Partitura teatral y coreografíaRincón Montoya, Ana Gissely; Vargas Robalino, EdwinIn this work, the student Ana Gissely Rincón Montoya, student of Performing Arts at the Francisco José de Caldas District University, aimed to analyze and clarify the terms "theatrical score" and "choreography" through a literature review, consultations in websites and interviews with teachers of the Performing Arts and Dance Art careers. It was found that each teacher interprets these concepts differently and that their definition varies, which yields multiple results and suggests that there are no definitive definitions, but neither are they incorrect. Subsequently, a relationship was established between these concepts and their use in the disciplines of dance and theater was explored, identifying common words and divergences in the definitions used in both fields. As a result, the student proposes her own definition of these terms.Ítem Las raíces ancestrales como base para la construcción de personaje en el montaje "María Mandinga"Gómez Rodríguez, Yefferson Stiven; Vargas Robalino, John Edwin“Ancestral roots as a basis for the construction of character in the montage “María Mandinga”” is a documentation of the experiences acquired during the process of creation, in grade1 assembly “María Mandinga”2 of the performing arts curricular project, from the ASAB Faculty of Arts. This record focuses on exposing the discoveries, challenges, the findings and failed attempts that Yefferson Stiven Gómez Rodríguez experienced in the construction of their characters. With this record, also called the actor's log, aims to recognize how the learning and knowledge acquired during the process as an actor in the academy, he was able to execute and experiment them in praxis, based on a particular interest, such as ancestral roots.Ítem Oda a una manzana: análisis del proceso bidireccional entre la escritura dramatúrgica y la escritura de escenaAlarcón Castellanos, Danna Michell; Mejía Patiño, Fabián AndrésThis document is the exposition, analysis and reflection of the creative process of the dramaturgical and acting construction and staging of my monologue “Ode to an apple”, which was born from a particular interest in the homicidal pulsation, motherhood and marital relations; For this, acting elements such as improvisation, object management, words and physical action are exposed, in order to build a self-criticism based on observation and objective analysis, to strengthen my praxis and generate notes, comments, proposals and reflections about artistic creation in the theatrical field.Ítem Desarrollo de actividades del Subcomité de Extensión PCAE Semestre 2022-1González Rodríguez, Fabián Andrés; Lozano Moskowitcz, CatherineFor the 2022-1 and 2022-3 periods, the Extension Subcommittee of the Performing Arts Curricular Project (PCAE), in its mission objectives, has been developing five related projects focused on strengthening ties with graduates, inter-institutional work networks and organizations outside the academic field (municipal secretaries of culture, mayors and others). In this sense, as an internship, I prepared an Action Plan that would contribute to the Subcommittee in reaching its planned objectives, specifically: Publications, the Spectator School "Desde el 125" and the "Festival Experiencias Al tablón". This report will present the activities developed during this internship according to the projects mentioned above, the ways in which the proposed Action Plan was executed and the adjustments received according to the scope of the internship.