Artes Escénicas
URI permanente para esta colecciónhttp://hdl.handle.net/11349/2057
Examinar
Envíos recientes
Ítem De la academia a la calle: una mirada al teatro callejeroSantana Almanza, Karen Julieth; Illera Sarmiento, Sebastián"From the academy to the street: a look at street theater" is the memory of an internship carried out with the Corporación Escénica DC Arte in which the intern describes what it is like to practice professionally with a group specialized in working with the popular population and community. As a result of it, the actress reflects on the contents acquired in the academy and the great differences between stage work for the theater and for the street.Ítem Perder el miedoRodríguez Cárdenas, Adrián Augusto; Marín Corrales, LissethI will focus practically and effectively on techniques that, based on my personal experience, directly addressed the core of theatrical truth and acting. These techniques allowed me to finally feel comfortable on stage with my fellow actors, without realizing that Sanford Meisner had already proposed them many years ago. Secondly, I will present Michael Chekhov's acting principles, many of which are effective in achieving authenticity on stage by adding variety and nuance to the theatrical creationÍtem Reflexión a partir de la indagación de los conceptos: atención, concentración e imaginación y su pertinencia dentro de la actuación en el montaje de grado María MandingaCastro Cárdenas, Yanidt Milena; Combariza Castaño, Juan Manuel; Combariza Castaño, Juan Manuel [0000-0003-2726-309X]This document reflects on the concepts of attention, concentration and imagination applied in the acting field through a compilation and subsequent identification of similarities or differences according to the perspectives of authors from different times, which allowed a greater understanding and distinction between the capacities that must be develop and apply in acting. It was explored an exercise of association-imagination and exercises proposed by Mijaíl Chejov, adapted and applied to the production of María Mandinga directed by Jorge Romero, the definitions of various theater theorists were studied to clarify the concepts.Ítem Poética del ParricidioMartínez Cruz, Angie Lorena; Ortega, Sandra María; [0000-0001-8851-8346]The following work presents the reflections of the artistic creation ¨The princess and the unicorn¨ (a historical fiction monologue based on the relationship between Manuela Escobar and her father Pablo Escobar) whose principal research purpose has been to uncover the misogynistic and patriarchal problems stipulated from the relation father-daughter. The life of her father (a murdered) ends up with an inevitable destiny in the life of his daughter. Furthermore, this artistic creation made it possible to understand the relationship with my father (a hitman of Bogotá 1971-2010) the consequences of his violent life in my role as a daughter and in my self-conception as a woman and, provided the opportunity to be able to act against the paternal power that he had over my life. To review “the paternal violence” is necessary to understand the legacy that has been extended to the lives of his daughters, who must be conceived from the idolatrous society of violence as descendants of “the patriarch” that has been forged as a figure of power, authoritarianism, and absolute truth. To fight against this “natural social state”, the daughter must —as an emancipating event— create a ritual act that manage to separate her desire for knowledge from the patriarchal hermetic desire that ties her life to the father’s life route. This work is a guide (of many possible) to walk towards “the symbolic death” of her father, which is a synonym with freedom and emancipation of the daughter.Ítem Entrando a un setSantacruz Giraldo, Ingrid Tatiana; Mejía Patiño, Fabián AndrésThis monograph is a practical guide to the roles, some concepts and terms that an actor faces on a recording set. For this reason, there is no doubt that knowing the position and responsibilities of each of the people who make up the work team will facilitate their performance at the time of the creative act.Ítem Puras cosas maravillosasDoncel Briceño, Jonathan Duvan; Illera Sarmiento, SebastiánThis research work originated as an attempted adaptation and interpretation of the monologue Pure Wonderful Things by playwright Duncan Macmillan. Initially, finding that this monologue—inspired by personal experiences—could turn chaos into a powerful artistic expression and break down the barriers that separate actors and spectators. However, as it progressed, it became a risky bet that aspired to address the immense need to dialogue about the invisible battles and internal struggles about which little is said in the midst of a dizzying and indifferent society. The adaptation process was based on a variety of theatrical concepts and techniques, including the Participation Theater, the Theater of the Oppressed and the Theater Forum, which allowed the construction of a theatrical adaptation that unleashed a roller coaster of emotions, sensations and events, providing the opportunity for connection between theater, mental health and the possibility of generating self-care awareness. This study reflects on the multiple impacts that the staging of Pure Wonderful Things had. It examines both planned effects and those that emerged spontaneously during the process. Through this play, the possibilities of how theater can become a powerful therapeutic tool to help people living with anxiety and depression are explored, while promoting awareness and empathy.Ítem Bitácora del proceso de creación de la obra teatral “Ana y Yeya”González Botero, María Camila; Lozano Moskowictz, CatherineThis logbook provides a detailed view of the development of the character Ana in the theatrical production "Ana y Yeya", under the direction of Alberto Barrero. Throughout its pages, the different stages of the artistic process are documented, capturing observations, ideas, data and discoveries that emerged during the creation of the play. The logbook, conceived as an essential part of the theatrical production for the creation-performance degree program at the Universidad Distrital Francisco José de Caldas, aims to document the creative process. Through the collection of data, impressions and results, this document provides a written reflection on the gestation and evolution of the character, exploring the uncertainties inherent in the creation and outlining how the choices of character construction will manifest themselves on stage. Ultimately, the log serves as a record of the play's production process.Ítem Reflexiones sobre backstage de un matrimonio felizNiño Cobos, Daniela Fernanda; Illera, SebastiánThis work contains a kind of mental map that served to organize my entire personal history and the motivation to write “BACKSTAGE OF A HAPPY MARRIAGE” in order to break down the themes that are broadly touched upon within this dramaturgy. Themes that, thanks to social deepening and psychological studies, today we can recognize the terms and behaviors more accurately to identify what we face on an emotional, psychological, social level and that thanks to the performing arts today we can portray it. from a slightly murky comedy that reveals the violence that we ignore for love.Ítem Gallinazo departamental, memoria de creación de un actorCarrillo Acosta, Cristian; Illera Sarmiento, Sebastián"Gallinazo departamental: Actor's Creative Memories" is a work that consolidates, both conceptually and artistically, a monologue-based theatrical creation process. It is built upon a continuous search inherent to the theatrical endeavor and the appropriation of Latin American identities that belong to us, making use of all the discursive, aesthetic, and dialectical tools acquired throughout one's education in the performing arts. Within the following pages, a creation process is documented: from the germ of dramaturgy to the realization of a complete stage production with its respective performances. The research begins with a thoughtful and ongoing reflection on the monologue format: an actor on stage resolving tasks, an artist constructing a universe.Ítem Cuerpo relajado y cuerpo activo, un equilibrio en la escenaPachón Rincón, Evelyn Tatiana; Mejía Patiño, Andres FabianThe actor lives in constant exploration, putting into practice the learning that he acquires in his training process. Within the exploration you find interests, concerns, doubts that lead you to want to investigate more on a certain topic. This work delves into the body as a means of expression on stage. From the analysis of approaches of different body and acting techniques, precise tools are sought through practical exercises working on energy, disposition, presence, imagination as foundations to find a balance between relaxation and activation of the actor's body when is on stage.Ítem El oso como alegoría de lo ausenteFonseca Rojas, Yesenia; Gallego, Dubián DaríoAn underwater eye has gone down the drain, the owner, a bear-shaped ball of fur, anxiously searches for it by furrowing the pipes, stealing every day a little piece of sea, hoping to find his sad eye. What seems to be a children's story inspired by Jorge Díaz, turns its light tinge to gray and dark, when the author finds in Manolito (the teddy bear that is one of the protagonists of the play "Valparaíso" directed by Teatro de Juguete in 2022), a simile, an analogy, a couple of metaphors and a whole allegory about absence. The haughty bear detaches himself from the play to demand a place of enunciation in an attempt to Zurcirse himself, emerging an "Autopoiesis", surfing the seas of his memories. The absence of Manolito's eye allows the author to collect herself in an absence of her own and develop a multiplicity of languages, which delve between dramaturgy, poetry, plastic arts and concepts that become necessary to come to life in the course of the story.Ítem Habitando la gerencia de Arte Dramático, una experiencia de pasantía en el IDARTESRodríguez Baquero, Juan Sebastián; Vargas Robalino, John EdwinThe report narrates what was done during the internship, under the guidance of Eva Lucia Díaz Burckhardt, in collaboration with Maribel Medina and Ricardo Rodríguez; where various activities were carried out between July and October 2022. The report serves as a detailed chronogram. These activities covered professional development in cultural management, including the study of the history of the District Program of Concerted Halls, the accompaniment of plays and theater groups, participation in acting workshops and involvement in significant cultural events such as the Bogota Theater and Circus Festival. Through text and photographs, the report captures in essence the scope and achievements of the internship at IDARTES.Ítem Semillero de circo contemporáneo un mágico camino hacia Vitorino Figari o el vuelo de la JirafaRuiz Fierro, Nicolás Andrés; Gallego Hernández, Dubían DaríoThis research presents the work carried out by the Contemporary Circus Seedbed of the Faculty of Arts - ASAB in artistic and pedagogical processes that involved circus artists from the city of Bogotá with students from the Francisco José de Caldas District University in training, conversations, and creative processes around the New Circus from 2014 to 2022. Some of these processes were supported by institutions such as SDRD, the ASAB Faculty of Arts, and the Performing Arts Curricular Project, giving significant importance to circus practices. Finally, I will highlight a project within our trajectory as an Investigative Seedbed in which we collaborated with the company La Ventana Producciones Artísticas. Together, we developed an exciting creative process of Contemporary Circus titled "Vitorino Figari or the Flight of the Giraffe." In this play, we had the participation of professional artists in dramaturgy, dance, theater, and circus, which allowed us to put into practice our extensive acting and circus experience. In this writing, I bring together my training in acting techniques acquired as a student of the Faculty of Arts - ASAB, and my circus knowledge in techniques such as Hand Balancing, Cyr Wheel, Acrobatic Dance, and Acrobatic Duo, practiced at the Gymnastics League of Bogotá and at the Adrenalina School of LaGataCirko. This project synthesizes the path we have taken within the Seedbed, making evident the importance of circus art in Colombia. An art that exports Colombian artists of the highest acrobatic quality abroad every year, changing lives and drawing dreams.Ítem Fantasma en cuarentenaVarela Sánchez, Cristian Alberto; Gallego Hernández, Dubián DaríoGhost in Quarantine was first born as a series of digital photos that comment on and show the daily life of Cristian Varela (Palmipalmipalmi) on the Instagram platform, where you can see images in different facets with different profiles. Afterwards it is converted and taken to the printer in a Photo format - written in a series of Stories, songs and poems that try to elucidate some of these photos.Ítem Vestir a un personajeMoreno Cárdenas, Katherine; Gallego Hernández, Dubián DaríoIt was created from the actor's need to explore the different scenic languages (the word, the body, costumes and make-up, objects, sound, lighting), in order to obtain tools for the creation of his characters. It was decided to do it from the costumes since this is an element that, in many occasions, ends up being chosen in the last phase -either because of the uncertainty of not knowing what could be adequate for the construction of the role or because of the performer's carelessnesswhere, many times, it manages to contribute elements to the score and the actor's interpretation, which are not deepened due to the rush of the premiere, leaving a valuable resource some what abandoned or unexplored. At the same time, try to involve the performer with the detailed choice of costumes, trying to make the actor and/or actress be careful with the elements that he/she will put on stage and manage to answer the question: why do I put this and not that? This pages don’t pretend to have the absolute truth, on the contrary, it wants to generate questions for the actor or actress and his or her character. It aspires to be a guide that the reader can use at his or her convenience and adapt to his or her needs.Ítem El teatro de objetos, el teatro de títeres y el valor de los objetos como eje fundamental para la formación actoralQuevedo Barreto, Sergio Gabriel; Gallego Hernández, Dubián DarioThis text carries out an investigation that is supported and broken down into four major themes or parts: puppet theater, object theater, personal experience, workshop-laboratory. On the other hand, this degree work has a research component that moves between the contextualization of references, the compilation of historical memory of the puppet theater in Colombia and in which new historical information is provided with the systematization of the current movement of the last 20 years. years in some parts of the country. The conclusions and notions that my 8 years of experience in this art have left, the proposal of two workshop-laboratory, the first addresses animation, experimentation and the relationship that is established with materialities and objects, and the second workshop has the objective of exploring the relationship that actors have with objects and thus enhance their expressive, creative and interpretive capacities, taking as methodology the tools of both puppet theater and object theaterThe first 3 topics are proposed in a specific order in such a way that they allow the compilation of theoretical references and what is necessary to address the practical part of the workshop at the end. This degree project is aimed at anyone who wants to enter the world of animation (objects or puppets) and who is interested in knowing a little about the historical memory of puppet and object theater in Colombia, its progress and new research. given in the last 20 years. In the same way, it is focused on actors and actresses who already have tools acquired in the scenic field and who want to experiment with their relationship and importance of the object in the scene.Ítem Pasantía en asistencia de dirección creativa para la electiva estéticas disidentes, drag, trans, vogue y queer y el evento la noche y las luciérnagas 7Bermúdez Marulanda, Edvar Andrés; Combariza Castaño, Juan Manuel; 0000-0003-2726-309X; Combariza Castaño, Juan Manuel [0000-0003-2726-309X]Through Agreement 038 of 2015, which modifies Agreement 031 of 2014, the Academic Council of the Francisco José de Caldas District University establishes, among other provisions, seven modalities of degree work to qualify for the undergraduate degree in any curricular project. These modalities are: Internship, Postgraduate academic spaces, In-depth academic spaces, Monograph, Research - Innovation, Creation or interpretation, Entrepreneurship project and Academic production. This document brings together my experience obtained in the internship degree modality. Carried out in the Malinche Research Group, with the objective of assisting in the creative direction of the academic and artistic activities arising from the aesthetic elective subject Drag, Trans, Vogue and Queer for an egalitarian society, a project that arises within the group in agreement with the Francisco José de Caldas District University. Likewise, assistance in the creative direction of La noche y las Luciérnagas 7, a gala that focuses on making visible the artistic proposals of people with LGBTIQ+ life experiences, which is held annually in agreement with the Malinche research group, the LGBTIQ+ collectives of the District University, in alliance with the Planning Secretariat of the Mayor's Office of Bogotá, the Jorge Eliécer Gaitán Theater and IDARTES. Publicizing the activities carried out and the results obtained during the period 2022-3 AND 2023 - 1.Ítem Bitácora de creación: mis personajes infantiles y adolescentes como fuentes de recolección técnica en los procesos de creaciónVásquez Zuluaga, Nataly; Rodriguez, IgnacioThere is a great variety of tools that we can adopt in a staging. In this retrospective work I am proposing a technical organization in the creation of children's and adolescent characters in the works: rumor, de peinetas que hablando y otras raridades and La Princesa ligera. This is based on an in-depth review of the creation process of the Umbral Teatro and Teatro del Juguete groups and their respective technical and creative processes of the actors, focusing on the importance of the infant in the proposed stories and how it is possible to transpose said character from the dramaturgy to representation, emphasizing the study of image, movement and word.Ítem Fluir en el teatro para fluir en la vidaRamírez Solano, Stephanie; Mejía Patiño, Fabian AndrésIn this paper, I will share my experience in constructing my characters in the graduation production of "Unas Señoritas no tan Damitas." I will explain how I managed to link various tools during my autonomous moments, based on body training, which allowed me to have a process that enabled me to have fluency in all aspects, both on stage and in personal life. Additionally, I will show how collective creation moments were fused through improvisation.Ítem Estrategias de dramaturgia y memoria de creación actoral: Búsqueda de herramientas dramatúrgicas en un montaje teatralMora Mahecha, Geraldine; Sánchez Gutiérrez, Rafael Alfonso; 0000-0003-0092-7095; Sánchez Gutiérrez, Rafael Alfonso [0000-0003-0092-7095]The following degree project will carry out the acting creation report on the staging of the play: Caligula by Albert Camus, directed by guest director Mark Maughan and will investigate the tools that the actor obtains in the staging process that allow him to be a playwright of his own creations, finding a better development of his literary dramatic writing. It is not about the well-known dramaturgy of the actor but about the tools that acting brings to dramaturgy. Carrying out a detailed observation of the editing process through an acting creation log that records the day-to-day rehearsals, focusing on the key points that the actor needs to understand about the dramatic structure that makes his interpretation of the character possible, in this way In this way, tools provided by acting are taken in and then used in literary dramatic writing, and the passage from acting to the creation of drama itself is broadly glimpsed. Actors not only play characters, they are also creators, they have tools to imagine new worlds, acting allows us to understand the performing arts from interpretation, but also from theory. This degree work analyzes definitions of dramaturgy by Patrice Pavis and Inés Stranger, the dramatic structure by Eliecer Cantillo, Raúl Serrano and The Anatomy of drama by José Luis García Barrientos, taking into account these authors it defines the basic tools of dramaturgy and the compares with the tools obtained in the acting creation process.