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 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 Crear un personaje basado en un cuento de Jorge Diaz para el monataje de grado ValparaisoRubiano Corredor, Juan Manuel; González Suarez, Isis ExsuryThis work log was based in the experience I had on my graduation theatrical production called Valparaíso Family Theater Show. Direct by Teatro de Juguete, Milena Forero and Carlos Velasquez. Here, we took short tales about Jorge Díaz and were adapted for theater from the technique of collective creation.Ítem De artaud a diderot una simbiosis para encontrar la verdad escénicaMahecha Pineda, Sergio Andrés; Rodriguez, LeonardoThis research compares the actor's work in the emotional sense; of feeling and / or not doing it through the postulates "the paradox of the comedian" of Diderot, "theater of cruelty - the plague" of Antonin Artaud and the process and presentation of the monologue, "Our father who you are in the whiskey" performed by Katerin Gutiérrez and "between madness and sanity" performed by Sergio Mahecha; where the postulates in mention are ratified from the praxis. The investigation focused on several points of view from the theory of acting, later confronted with praxis. During the investigation, each one of the theories is scrutinized, finding what it means for each one of the authors, a definition, of the actor and his work and how it is important for this job the scenic truth and what tools are useful to achieve it from these two opposing points of view, but which provide with very solid tools in the praxis of the trade.Ítem Desde la otra acera (Aspectos técnicos y creativos del teatro de calle)Riveros Mendoza, Heidy Natalia; Rodríguez Suárez, Jorge Leonardo“Desde la otra acera” is a research project that arises from the need to share the knowledge from the perspective of the street artist, who courageously chooses to hold public space as the stage. For this investigation I presented the milestones in history of street theater from past to present day. To understand many of these concepts, the plays "Abanderadas y cargadores" and "Costuras pa destejer" are analyzed. The purpose of this inquiry is to share with the academy the power of the practice of street theater has to enhance and how it can enhance the development in many facets of life for those who devote themselves to theatrical work.Ítem Escenografía teatral colombiana. La ausencia de lo evidente(Universidad Distrital Francisco José de Caldas) Gacha Melo, Angélica María"Pese a que en Colombia ha venido creciendo la producción teatral, poco es lo que se habla de ese espacio donde convergen otras realidades en este caso dramáticas. Al parecer no existe mucho interés en resaltar o estudiar eso que para muchos es solamente un objeto que ocupa un espacio físico en el escenario llamado "escenografía", Seria atrevido acusar a todo el campo escénico profesional dentro del circuito colombiano de la no planeación de dichos trabajos, pero es importante analizar cuál es la causa por la cual existen muy pocos comentarios en esta materia."Ítem Estaciones del alma tradición ancestral la mujer y la tierraPuentes Medina, Nazly Mayerly; Vargas Robalino, John EdwinIt presents a detailed inform of the realization process for the "Estaciones del Alma" dance performance, showing up the outlook about its three phases: field research, creation laboratory, and staging. This document reveals the methodology and used tools by the direction in each aspect required to achieve this project. "Estaciones del Alma" is a scenic creation that assembles dance, music, plastic arts and visual arts, it's about the realized research of knitted state as an ancestral practice in four Colombian regions: indigenous Misak reservation in Cauca, rural community in "Santa Ana" Duitama Boyacá, afro descendant community in "San Basilio de Palenque" Bolívar, and knitters in Bogotá. It has founded in orality as research method, as a creator and diversifier. It starts on observing concrete actions in knitters activity to becoming in a joining process for the artists, until transforming in a creative process that realizes new knittes when they share it on scene.Ítem Informe final de la pasantía desarrollada en el Colegio Técnico Benjamín Herrera en el marco del proyecto institucional “Derechos humanos, formación política y cultura ciudadana” La figura del desaparecido en el teatro colombiano para la reconstrucción del tejido socialCorredor Mesa, Hever Sebastián; Sánchez Ardila, Jorge DavidThe present study gathers the outcome of the project "The profile of the disappeared in colombian theatre for the social fabric reconstruction" in the strengthening and restoration of the empathy and good coexistence in 1101 and 1101 grade students from the technical school Benjamin Herrera I.E.D which is located in Bogotá, Colombia. It also contains the systematization of the diagnosing phases, description, development, and process assessment. This project plan was drawn up during an internship carried out in the institution in the second and third trimester in the year 2018 for the transversal institutional project execution of human rights, political training and citizenship culture.Ítem Inter-Acciones EscénicasMuñoz Rodríguez, Daniel Alejandro; Moreno Chaparro, Sergio; Morales Rodríguez, Yudy del Rosario; Morales Rodríguez, Yudy del Rosario [0000-0003-2859-2717]From the convergence, interdisciplinarity, and complementarity that exists between contemporary dance and theater, we covered the technique of physical actions through a holistic research field, to find a methodological route that would facilitate the understanding of the technique and enhance the creative work of the scenic artist, energizing the body and imagination. For the development of this research, over four months, a laboratory workshop was conducted, divided into four sub-workshops, with actors and dancers where we used the figure of observer-participant as the leading role in the development of the workshop, elaborated with techniques of theater and dance authors such as Michael Chekhov, Jerzy Grotowski, Pina Bausch, Steve Paxton, Rudolf von Laban, among others for the construction of the right path in this process. Among the techniques used in the workshop were: contact improv, theatrical games, work on score and object, choreographic sequences, Laban's cube, and relationship work. This resulted in the comprehension, understanding, management, and integral development of the technique of physical actions, from a new interdisciplinary methodological route called staged inter-actions, which enhanced the performance and work on stage. That is why we consider ours a great success and a new way of facing the job since its effectiveness lies in finding routes and ways of understanding that detach the technique of physical actions from a single discipline or scenic artist.Ítem El maestro, una reflexión sobre la enseñanza del teatro.Ávila Valdés, John Sebastián; Gallego Hernández, Dubián DaríoAt the end of the Performing Art’s program of the Universidad Distrital Francisco José de Caldas, I seek to have an approach to professional fulfillment through differents academic processes in which I exercise the role of professor. As a child I used to play in my notebooks to create plays, I made lists of students with the names of my friends, and I chose a theme or a story, which I began to divide into scenes and then describe a possible staging. After a long time, a social participation project was born in which I summon children and young people from the town of Engativá, they will develop an extracurricular activity focused on the Performing Arts, and through this positively improve their way of expressing thoughts, emotions and ideas, self-confidence, appropriation of their identity, and the mechanisms they build to dialogue with their peers in the development of an artistic creation. In this way, the concept of integrality is approached, not referring to the conjunction of the arts only, without saying that the students do not go through the living experience of music or dance, but rather the intrinsic development of these human abilities in each individual. from theatrical practice. This experience has allowed me to go deeper into the concepts and tools that I consider fundamental within the theater, I have discovered that it is not only an artistic event that requires talent and discipline, but also people who know themselves and recognize within these possible practices findings on a personal level, without romanticizing our work.Ítem Manto de cenizasPardo Fandiño, Camila Fernanda; Peña Chacón, Eliana Valentina; Ospina Díaz, Karen Lisbeth; Plata Martínez, HanzAshes mantle is a research work creation of dramaturgical dance, it is based on the reinterpretation of the film “La tierra y la sombra”, the research work creation was born for the exploration in the expressions of movement as a result of sensitive motivations, understanding from the film's central argument. The result of this process is a book about how to direct for the staging and the development of a dance work that can be taken to several scenarios.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 Memorias de la escritura de la obra "El Champion"Meza Villanueva, Juan David; Rodríguez Suárez, Jorge LeonardoThe next work shows up the process of writing "El Champion", by Juan David Meza Villanueva (Juan Bilis), from the conception of the idea, through the process of research, writing and finally staging.Ítem Metodología para la construcción de un monólogo en el teatro de la historiaBlanco Arenas, Fabian Alexis; Rodríguez Suárez, Jorge LeonardoHere a methodology is proposed for the construction of a monologue with historical reference. Concepts such as Dramaturgy, historical drama, historical monologue, space, time and the typologies of the author Darío de Jesús Gómez Sánchez; which are important for the development of this assumption, are the issues addressed in this proposal. The above with the help of authors who have dedicated their lives to studying dramaturgy from drama and historical drama; Camilo Ramirez, Santiago Garcia, Dario Gómez, Patrice Pavis, among others. All this to elaborate a proposal for the construction of a historical monologueÍtem Metodologías de enseñanza de la técnica clown y sus influencias en el clown colombianoQuiroz Caicedo, Franceline; Rodríguez Bejarano, IgnacioIn this writing is found a review of different interviews made to actors and directors of clown for theatre, and based in this reviews, is made a final writing where it is defined the parameters of teaching of the clown technique and the features of the colombian clown. The interviews are oriented to define what is the clown in theatre, which are its characteristics according with each interviewed and how do they try to teach those concepts to the students; finally it is asked for the specific features for the clown in Colombia. Based on this information a writing is made where are related the most important aspects of this technique, its ways of teaching and its features in Colombia.Ítem Montaje teatral madre agua, creación artísticaPalacios Ramos, Claudia Andrea; López Rubiano, Juan Carlos; Sánchez Quintero, Carlos AlbertoThe Mother Water theatrical production is performed based on the Mother Water dramaturgical text, which refers to this topic Bogotá river pollution and has the water element, as Mother-Deity (water and mankind) from the cosmogony Muisca, based on the reinterpretation of the myth of the birth of the Goddess Bachué Iguaque in the lagoon and the creation of human beings. In the dramaturgical text Mother Water, the Bogota river is named after its ancient name: Guacheneque river.Ítem Las palabras huyen del miedo. Obra dramáticaGuerra Rodriguez, Jose Manuel; Ferrer Franco, Yury de JesúsThe words flee from fear is a dramatic work that arises from the inquiry made of the theater of the absurd and some concepts of dramaturgy, which show the Colombian reality told from another point of view.Ítem Pasantía en la dirección técnica de la sala del Teatro R-101Jimenez Sandoval, Nicolas; Barbosa Vera, Luis JavierThis report aims to show the results of the internship developed in the theater room R-101, where the knowledge acquired throughout the career in visual and plastic arts was put into practice, applying this knowledge in the field of performing arts. The internship is presented as a modality of degree for students who wish to locate a professional field through work practice; therefore, this is a possibility for students of the program to put into practice the skills acquired during the semesters studied. This is why in this internship an exploration was made of scenography technic aspects in which it is worth highlighting the process of installation, assembly, direction and handling of lighting devices such as professional halogen and LED lamps used in live shows, as well as the accommodation of the capacity, understood this as the organization of the curtains and after-scene arranged in the theatrical space, depending on the needs required by the show. Likewise, capacities were acquired in terms of public management and customer service, with a view to developing skills that allow personnel management and situations where the human factor is involved.Ítem Pieza-Parábola, agonía y otros rodeos en "El Paso" de "La Candelaria"Florido Arteaga, Juan Francisco; Rodríguez Suárez, Jorge LeonardoDramaturgic analysis of the collective creation "El paso" from the theater group "La Candelaria" through Jean Pierre Sarrazac's perspective exposed in his essay "Jeux de rêves et autres détours" about the modern drama crisis of the 20th century end. This work proposes to put "El Paso" at the same level as works from playwrights from the second half of the 20th like Strindberg, Beckett and other playwrights who proposed alternatives to the classic aristotelic drama.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.