Artes Escénicas
URI permanente para esta colecciónhttp://hdl.handle.net/11349/2057
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Ítem ¿Qué hay ahí fuera del margen de mi mirada, en las sombras?Cuevas Cerquera, Natalia Karolina; Gallego Hernández , Dubián DaríoThis autofiction 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 autofiction 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 Estado del arte sobre propuestas taxonómicas para el análisis de la videoescenaDíaz Olivares, Fernanda; Sánchez Gutiérrez, Rafael Alfonso; Sánchez Gutiérrez, Rafael Alfonso [0000-0003-0092-7095]The videoscene is developed by incorporating an audiovisual technological component within the stage space, where video and digital projection interact with the physical elements of representation influencing the aesthetic construction and meaning within a play therefore it is necessary to understand its semiotic relationships between its elements for its study and creation. This work is a state of the art on the existing video-scenic taxonomies in the Spanish language, with the objective of contributing to the development of the research project "Analysis of staging as a source of critical analysis and formative evaluation". For that reason, it is contextualized on the interactions that theater and audiovisual have historically had, with the exchange and adaptation between their codes, to the point of conceiving the videoscene and the terminology that is nowadays used in its relationships with the stage. Following this, the phase of collection, classification and analysis of the investigative proposals found are presented, to conclude with the opening of possible areas of research to the dramaturgical analysis of the videoscene in the staging.Ítem El maquillaje como mecanismo para la creación y caracterización de un personajeRodríguez Villamil, María Alejandra; Lozano Moskowictz, CatherineThis written work arises from the need to explore the art of makeup more deeply. In this research, I seek to highlight a language that transcends the superficial, and as an actress, I have discovered a wide range of possibilities for both character development and the work of the makeup artist. I have decided to focus on makeup because, like acting, it has been an important part of my life. Beyond being a passion and a pleasure, I consider both disciplines as forms of expression that seek to communicate a clear message to the public. The world of makeup is vast and has been a form of expression for centuries, and it continues to be. Each color, texture, line, and stroke tells a story and conveys meaning. Although makeup and acting are impressive separately, their combination can result in something truly impactful and meaningful. I will share two works in which I participated, where I can reflect on my experiences as both an actress and a makeup artist. This document is a personal learning process journal, which can serve as a guide as desired.Ítem Registro de mi montaje de grado a partir de los puntos de vista de un actor visceral a lo largo de su desarrollo.(Universidad Distrital Franciso Jose de Caldas) Arias Roa, Whitmar Jamphier; Sánchez Gutiérrez, Rafael AlfonsoThis journal arises from the need to deeply understand the creative process in contemporary theater, using the staging of Albert Camus, play Caligula as a case study, carried out as a graduation project at the Universidad Distrital. This study is relevant due to the complexity and depth of the themes addressed in the play, as well as the importance of theater as a medium of artistic expression and social reflection. My participation in the staging of Caligula as Lepido offers a perspective on the creative process, whose relevance reflects universal themes such as power, morality, revenge, and the love between father and son. These themes allowed me to explore how to approach the staging process and how they influenced both the interpretation and the audience's reception.Ítem Memorias de monjaje: obra. Nunca puede saberse(Universidad Distrital Francisco José de Caldas.) Agudelo García, Gloria Amparo; Dixon, Everett Christopher; Dixon, Everett Christopher [0000-0001-6749-0313]The first step, naturally, was reading the play to familiarize myself with it and gain insight into the text. The director initially assigned a few characters and, after some test readings, chose the entire cast. Once this was completed, we conducted general readings. We repeatedly did partial readings to help us understand each scene and clarify the corresponding desires and obstacles of both the characters and the scenes. These readings were very productive, as each time new tones, nuances, and intentions emerged, enriching my character, making me aware of them. The play's theme is a family reunion after 18 years; a conflict between a father and his ex-wife over custody of their children in a context that reflects the social and feminist evolution of the 19th century. The main event of the play is the family reunion. This event marks a crucial point in the plot, where the characters confront their pasts and family relationships. In the ending, the main character accepts love and reconciles with his father, maintaining a good relationship with his mother.Ítem El gesto facial del bailarínZambrano González, Laura Carolina; Ibanaxca Salgado , JuanaIt is inevitable that the body divides physically of the head, so the dancer must use the body in the totality, when the majority of the dancers to observe must demonstrate that a permanent carelessness exists to the connection that exists between the body and the facial gesture, a clear example of this is the introverted, autistic and sometimes absent-minded look. This investigation, it tries to define how it is possible to study the facial gesture, across 8 different ways of interpreting the meaning of the gesture, between them; the condition of body, a complete body, an instinctive body, an extra-daily body, a three-dimensional body, a body evolving in the space, an expressed body, and an emotive body. It tries to contribute elements for the study of the training of the facial gesture in the interpreter of scenic arts specifically in dancers of contemporary dance.Ítem Bitácora del proceso de creación del monólogo Eloísa o el vómito de diosOlaya Gómez, Diana Carolina; Lozano Moskowictz, CatherineThe present work gives an account of the research-creation process that was carried out to obtain as a result the monologue entitled Eloísa or the vomit of god. written as log, this document aims to be as faithful as possible to the development of the processes of: written dramaturgy, acting dramaturgy and final staging, and establish the bases on which that the future reassembly of the same be done. Since the dramaturgy and staging processes happened almost in parallel, the final text appears at the end of the documentÍtem Memorias de un actorClavijo Gómez, Óscar Daniel; Ramírez, CamiloThis writing focuses on the creative process of the 2022-3 degree assembly of the work titled “MARIA MANDINGA”, motivated by the story of the Nobel Prize winner Gabriel García Márquez with “Of love and other demons” directed by Jorge Romero Mora. Working with a collaborative approach, the author documents and analyzes the challenges faced and the learning acquired as an actor, highlighting his interdisciplinary contribution. This personal reflection highlights his professional and personal growth throughout the creation and performance of the work, addressing issues of identity, culture, and freedom. The work emphasizes the transformative role of theater as a means of reflection and communication, and highlights how music acts as a common thread and trigger in its contributions to the creative process, enriching the interpretation and its result.Ítem Manifiesto de una productora creativaRodríguez Arevalo, Alejandra; Sánchez, Rafael*Manifiesto de una productora creativa*, explores how experience in stage production can be a source of inspiration for the creation of meaningful cultural encounters. Based on my experience as an actress, creator and empirical producer, this work expresses how the creativity developed in the theatrical field can be transferred to the conception and execution of cultural events that transcend the traditional stage. The first objective is to unravel the role of the creative producer in the design of experiences outside the theatre, exploring skills and practices that enable the use of stage expertise to generate events that promote dialogue and reflection in diverse contexts. The second objective is to develop a poetic manifesto that synthesises the ideas and principles derived from the research. This manifesto seeks to capture a personal vision of the role of creativity in cultural production and to offer an artistic statement on the importance of this creativity in the creation of cultural encounters. Through this research, it aims to offer new perspectives on the impact of creativity in cultural production and the creation of transformative experiences.Ítem El medio de comunicación independiente como generador de impacto social y construcción del lenguaje visual en BogotáOrozco Carvajal, Andrés Felipe; Illera, SebastiánThis project aims to consolidate La Nevera T.V S.A.S, a platform in the audiovisual sector created by artists from different areas (theater, music, audiovisual production, lighting, oral narration, dramaturgy) that, with use of digital channels and social networks such as YouTube, Instagram, Facebook and Twitter, promote the generation of artistic, political, and cultural content in the center of Bogotá city, with this, the creative projects of young people are made visible, also highlighting processes of creators from the LGBTI community, who are looking for ways to communicate and bring their artistic products to broader spheres. To this end, this project is thought of as a platform that supports the creation, and enables the exhibition and dissemination of content through small and medium-duration audiovisual products.Ítem Rosa pastel(Universidad Distrital Francisco José de Caldas) Estrada Mendoza, Yeraldin Paola; Sánchez Gutiérrez, Rafael Alfonso; Sánchez Gutiérrez, Rafael Alfonso [0000-0003-0092-7095]Rosa Pastel is a one-woman show that uses theatrical conventions and technological resources to tell the dramatic story of a daughter, who is also an actress. As she navigates the various stages of grief, she recalls pivotal moments from her late mother's life, exposing the extreme lengths women go to in fulfilling the socially imposed role of "being a woman."Ítem Pasantía en dirección creativa para la electiva estética disidentes, drag, trans, vogue y quee y el evento la noche y las luciernagas 7Bermúdez Marulanda, Edvar Andrés; Combariza Castaño, Juan Manuel; 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, Deepening 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 academic and artistic activities arising in the aesthetic subject Drag, Trans, Vogue and Queer for an equal 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. Announcing the activities carried out and the results obtained during the period 2022-3 and 2023 - 1.Ítem De la esencia a la escenaCorrea González , Nícolas Gerarth; Morales Figueroa, César LuisThis article presents a compilation of interviews conducted with actors, director, playwright and assistant director of the play Las Precious Ridiculas, carried out by the National Arts Company in 2024. It also includes the author's personal reflections on the creative process during the mounting. Its main goal is to break down the processes behind character creation, such as the use of the body, voice, dramatic action, and other key concepts, from the subjective perspectives of the creators. The author seeks to contribute with an academic analysis that explores the different approaches to a professional artistic montage, archiving experiences and reflecting on the creative process, often ephemeral and difficult to capture. The text does not propose a single methodology, but rather serves as reference material by documenting techniques and strategies used, with a vision enriched by the author's own participation in the creative process.Ítem Presencia escénica: una mirada de lo académico a lo profesionalBermúdez López, Camila Andrea; Combariza, Juan ManuelThe objective of this project is to carry out an analysis and search for the notion of "stage presence" in two different creative experiences. One of them in the academic field, specifically the staging of the undergraduate Performing Arts Curricular Project of the arts faculty of the Francisco José de Caldas District University, of the ASAB arts faculty called "Caligula" by Albert Camus and directed by Mark Maughan. This work was presented in the Seki Sano room. The other experience is outside the academic field, in an interpretive process of sketches about citizen culture in the district of Kennedy, contracted by the National University. The theoretical references that guide this project focus on four books written by different authors, which address stage presence from unique perspectives. These are: " The Actor: Work on Oneself: The Creative Process of Embodiment, Part II" by Konstantin Stanislavski (Stanislavski K., 2009) "La canoa de papel" by Eugenio Barba (Barba, La canoa de papel, 1994), " Towards a Poor Theatre" by Jerzy Grotowski (Grotowski, Towards a Poor Theatre, 1970) and "Representation Studies" by Richard Schechner (Schechner, "Representation Studies", 2012). Additionally, to improve the quality of writing, this project uses online copyediting tools such as StilusÍtem Pasantía en el Instituto Distrital de las ArtesCasallas Portilla, Daniela; Gallego Hernández, Dubián DaríoThis thesis summarizes the experience gained during the internship period and addresses the activities carried out at Idartes. Throughout this time, emphasis is placed on contributing to specific projects, utilizing technological tools, developing teamwork skills, and practically applying concepts learned during academic training. Topics such as the XVIII Festival of Theater and Circus in Bogotá and the growing scene were addressed. Active participation in key projects, such as the District Program of Concerted Rooms and Supported Concerts, enabled the acquisition of essential technical and soft skills for the professional environment. The abstract highlights the achieved milestones, encountered challenges, and lessons learned during this enriching experience, ultimately preparing for future endeavors.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 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.