Examinando por Materia "Teatro Colombiano"
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Ítem Caminos en la dramaturgia femenina ColombianaValderrama Rincón, Diana María; Lozano Moskowitz, CatherineIn the XXI century the theater has allowed many Colombian women express themselves about what it means not only a woman, but being an individual and artist, because the female dramaturgy not dissociated from reality , is the product of history which has conditioned our country. Women are no longer muses or handmaidens to become creative and performing social realities.Ítem El ciclo musical candelario. Aportación del Teatro La Candelaria a un esbozo de teatro musical colombiano, original y críticoRodríguez Ferreira, Andrés; Rodríguez Ferreira, Andrés [0000-0002-3712-8863]Traveling through the scene for the last 36 years, specifically through the theater movement inscribed in what was called new Colombian theater, from the role of creation, training and theoretical production, represents an experience of personal meaning. The vicissitudes of violent reality, political complexity and the sociocultural context of a country impact, perhaps like no other, an art like theater whose substantial material is life. The repercussions of an artistic movement such as the one that arose around La Casa de la Cultura, with its subsequent conversion into the La Candelaria Theater, and from which a vigorous plastic, poetic, literary, musical and theatrical artistic movement emerges, can be located in the set of theatrical creations that make up the opus candelario. Deeply embedded in the particular conditions of a country besieged by permanent political violence, supported by an eternally corrupt ruling class, foolishly isolated from global changes and radicalized in the maintenance of its privileges and perks; This imperishable opus will inform more discerning generations of what political art represents, as well as original and of high aesthetic quality.Ítem Presentar-Representar. Cuatro perspectivas en El fallecido ojo de vidrioAraque Osorio, Carlos; Sarmiento Bonilla, María Fernanda; Jiménez Gómez, Cristina Alejandra; Contreras Camacho, Clara Angélica; Araque Osorio, Carlos [0000-0002-1825-8662]; Sarmiento Bonilla, María Fernanda [0000-0001-6931-7784]; Jiménez Gómez, Cristina Alejandra [0009-0000-7804-7317]; Contreras Camacho, Clara Angélica [0000-0003-0854-5219]Present-Represent. Four perspectives in The deceased eye of glass have as their starting point the need to generate dialogues between concepts and contexts related by postmodernism in the territory of the performing arts and dramatic and postdramatic theater. It is experienced through multiple questions about the actor, the characters, the drama, the text and the deep enigmas generated by the research-creation relationship in the context of the production process. theatrical staging in contemporary times. In The Deceased Eye of Glass an attempt is made to corroborate whether the relationship between the term presentation, directly associated with postdramatic theater, and the arguments of the theater in the construction of the character. These concerns are aimed at resolving the creative act taking into account that there are methods and techniques that ask about space, time, scenography, acting elements, sound, rhythm and above all the participation of the audience-witness, which is fundamental for the realization of a staging in the present.