Artes Escénicas
URI permanente para esta colecciónhttp://hdl.handle.net/11349/2057
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Ítem Identificación de arquetipos teatrales clásicos en el costumbrismo Colombiano de José María Samper(Universidad Distrital Francisco José de Caldas) Prieto Vargas , Laura Lorena; Combariza Castaño, Juan Manuel; Mejia Patino, Fabian Andres; Combariza Castaño, Juan Manuel [0000-0003-2726-309X]; Mejia Patino, Fabian Andres [0009-0004-3589-2720]Nineteenth-century Colombian costumbrista theater, with José María Samper as the central figure of this work, presents a rich array of characters that, despite their cultural relevance, have been scarcely analyzed in depth regarding their typology. This research aimed to identify the manifestation and adaptation of classic European theatrical archetypes (from the Commedia dell'arte and the Spanish Golden Age) in the characters of Samper's costumbrista comedies, showing their re-signification within the Colombian socio-cultural context of the 19th century. The methodology included an analysis of his four known comedies to date—Un alcalde a la antigua y dos primos a la moderna, Los Aguinaldos, Día de Pagos, and Percances de un Empleo. The results will make it possible to establish national archetypal characters and will enrich the knowledge of Colombian theater, ensuring the preservation of these figures in the collective theatrical memory.Ítem Instantes antes de que sea olvidado(Universidad Distrital Francisco José de Caldas) Madariaga Maldonado, Stefania; Vargas Robalino , John EdwinThis work is an artistic and reflective memory of the creative process of a one-person physical theater piece entitled "Instants." Through an autobiographical and poetic approach, it narrates the emotional, technical, and theoretical journey of the academic and artistic process. The protagonist, "T," represents her creative alter ego, facing existential fear, the passage of time, the search for identity, and family conflicts. The work blends theater, contemporary dance, and dramaturgy inspired by figures such as Wajdi Mouawad, Stanislavski, and Pina Bausch. In a universe where the same day repeats itself, T explores trauma, grief, memory, and the resilience of the body as a means of expression. This work also documents the challenges of staging, the writing process, and the experiential insights acquired throughout her career in academy, especially during this, her most recent, formative period.Ítem La proxemia: un camino hacia la creación del personaje Gertrudis en el Montaje de V año "Hamlet príncipe de dinamarca" dirigido por Pedro Migue Rozo(Universidad Distrital Francisco José de Caldas) Vides Galeano, Luisa; Camacho López, SandraThe work explores the importance of context and circumstances in human behavior, explaining that interpersonal relationships vary depending on the environment in which they develop. Given that the comprehensive study of human interaction is practically infinite, the research focuses on a specific aspect: proxemics, understood as the management of distances and spaces in relationships. This approach allows the actor to acquire a more precise understanding of human behavior and translate it to their interpretive work, enriching their stage presence with a more conscious and realistic foundation. Furthermore, it emphasizes that communication between characters should be as authentic as that between real people, making the management of stage space fundamental. The physical distances between actors not only influence the creation of scenes but can also determine the entire staging of a play. The text notes that, just as kinesics studies body language, proxemics is another dimension of human communication that offers essential tools for the analysis and development of interpersonal relationships on stage, becoming the focus of the proposed research.Ítem La paradoja, una dinámica en el drama Farsico en la obra Moloch de Rodolfo Santana(Universidad Distrital Francisco José de Caldas) Tobón Ardila, Edwin Alexander; Camacho López, SandraThe work addresses the process of selecting, analyzing, and staging Rodolfo Santana's play "Moloch," a representative piece of contemporary Latin American dramaturgy. It explains that the choice of a dramatic text is never arbitrary but guided by a director's expressive need and the desire to engage with the social issues of the audience. The play is selected as a starting point for an academic process that delves into the study of the farce genre and its relationship to paradox, identifying how these characteristics allow for a deeper dramatic analysis. It also recognizes Santana's relevance as a Venezuelan author who, although not considered a universal classic, offers a living, critical dramaturgy close to Latin American reality. The document describes a research process focused on analyzing the characters, their conflicts, roles, and the presence of paradoxical struggles within the play. Simultaneously, it reflects on the challenges of creating a free version of "Moloch" without betraying the author's essence, emphasizing the need to construct a meaningful staging that incorporates multiple artistic languages such as music, dance, visual art, and puppetry. Experimentation is presented as part of the academic and creative exploration, highlighting that the ultimate goal of the staging is not to produce a masterpiece but a means to delve deeper into paradox, farce, and the intention to "say" something to the audience through theatrical art.Ítem Encuentro del director y el actor entorno a las acciones físicas abordando un personaje esquizofrénico: estudio en la versión libre de los otros blancos de Orlando Ramírez(Universidad Distrital Francisco José de Caldas) Ramírez, Orlando; Camacho López, SandraThe thesis reflects on the nature of theatrical spectacle understood as an integral composition in which actor, director, set design, lighting, and stage space converge. It highlights that these elements mutually support each other to construct an experience that transforms the spectator into an accomplice and observer of intensified situations, where the characters face personal and group conflicts that shape the plot. Although the audience experiences profound emotions – joy, suffering, identification – they rarely perceive the complex creative process that precedes the finished work and gives form to the staging that they only witness as a final result. The text delves particularly into the relationship between actor and director as the essential axis of the creative process. It argues that, although many factors intervene in a theatrical production, it is in this bond where the fundamental agreements on the construction of the characters are defined. The study focuses on the production of Los otros blancos (The Other White People), a free adaptation of the text by Luis Hernández, where the acting work was explored based on physical actions, particularly relevant because one of the characters presents schizophrenia. In addition to briefly addressing this mental illness, the text reflects on how contemporary society influences dramaturgical production and why psychological problems are acquiring an increasing presence in theatrical creation and in the subjects of the current world.Ítem Incorpórea: metáfora del cuerpo en movimiento(Universidad Distrital Francisco José de Caldas) Salazar Uribe, Mateo Octavio; Morales, YudiIncorpórea (Incorporeal) was born as a response to my need, as a dancer, to investigate, from the perspective of contemporary dance, the resource of mimesis as a practical exploration around the body and movement. This stems from my personal interest as an artist in uniting concepts of the performing arts, which I recognize as part of a single language in staging. In this way, in the first stage, called "Incorpórea," I have sought space to include in an artistic process some people with disabilities who are inclined towards art, seeking with this to give myself and offer the opportunity for a bodily recognition that deepens practically and conceptually regarding the "metaphor of the body in motion" that the concept of mimesis poses for dance.Ítem Atmósferas y dramaturgia actoral: El impacto de lo sensorial en la interpretación actoral del montaje “Atmósferas”(Universidad Distrital Francisco José de Caldas) Luis Acevedo, Julieth Andrea; Gallego Hernández , Dubián Darío; Gallego Hernández, Dubián Darío [0009-0007-5937-7741]This thesis is a reflection on my creative and acting process in the performance Atmósferas, inspired by Teatro para minutos by Juan Mayorga. Based on the question of how atmosphere influences acting dramaturgy and scenic creation, I propose an understanding of the actor’s work through sensory experience, perception, and the relationship between body, space, and atmosphere. Grounded in observation, mindfulness, and active listening, I explore how the sensitive body becomes an expressive medium that builds living and meaningful atmospheres. Drawing on the ideas of Peter Zumthor and Michael Chekhov, I develop a perspective on the dramaturgy of the body, in which the actor’s experience transforms into narrative and the space becomes an organism that changes through presence. I conclude that the scenic atmosphere is not a decorative background, but a collective creation that emerges from sensitivity, understood as the essential driving force of the theatrical act.Ítem Proceso de creación del personaje pancorvo un viaje por el siglo de oro y la comedia del arte(Universidad Distrital Francisco José de Caldas) Rodríguez Morante, Carlos Fernando; Romero Rey, SandroThis written work takes the form of a reflective logbook that documents the creative process of the graduation performance Folia. Fiesta de ahoritica, directed by Spanish actor and director Carlos García Ruiz, a specialist in the comedy genre. The working strategies used throughout the process included improvisation, body awareness, vocal work, and especially logical thinking on stage, all of which were fundamental to the development of the performance. The piece is based on the “pasos cómicos” (comic interludes) of the great Lope de Rueda and the theatrical conventions of Spain’s Golden Age. This project explores a fresh and daring way of approaching short comic plays through the actor’s body, using tools such as physical action and precise scenic rhythm, allowing the actor to break from traditional techniques and routines in order to reconnect with spontaneity, intuition, and meaning in performance. Key Words: Character creation, Commedia dell’arte, Physical theatre, Corporeal mime, Popping, Creative actor, scenic body construction, improvisation.Ítem La Magia de doblar las rodillasBejarano Lozano, Andres Felipe; Romero Rey, SandroThe text reflects on the process of staging the 2025- 1 Performing Arts degree program, SANGRE, focusing on the exploration of magic in acting and stagecraft. Presenting his logbook, the author reflects on his mistakes and lessons learned throughout the process, from preparation to presentation. He emphasizes the importance of the connection between actors and director in creating a space imbued with mystique and technical discipline. A poetic journey of self-discovery and learning in the art of acting is revealed.Ítem ¿Cómo pueden las redes sociales contribuir a la formación de nuevos públicos y a la visibilidad de los grupos teatrales en Bogotá?(Universidad Distrital Francisco José de Caldas) Sanchez Veloza, Julian Esteban; Gonzalez Suarez, Isis Exury; Gonzalez Suarez Isis Exury [0009-0000-2272-1528]This research—based on the analysis and management of a theater profile on social media—seeks to propose a guide for performing arts groups in Bogotá so that they can continue to find in digital media a tool that helps them increase the visibility of their theaters and plays, as well as study the door that opens for them to form new audiences and leave a record of their work. Bogotá can continue to find in digital media a tool that helps them increase the visibility of their venues and works, as well as study the door they open to form new audiences and leave a record of their trajectory and legacy in online communities.Ítem La construcción de los personajes Ana Cecilia y Violeta Parra en el montaje “Mujeres que riman con la vida”(Universidad Distrital Francisco José de Caldas) Marín Daza, Ana María; Martínez Porras, Wendy Xilena; Rodríguez Bejarano, Marco Ignacio; Gallego Hernández, Dubían Darío; Gallego Hernández, Dubían Darío [0009-0007-5937-7741]The thesis, The Construction of the Characters of Ana Cecilia and Violeta Parra in the production "Women Who Rhyme with Life," develops a research-creation process that unites memory, the body, and words in the stage construction of the characters Violeta Parra and Ana Cecilia Muñoz, played by Ana María Marín Daza and Xilena Martínez Porras. Through a theatrical laboratory, the boundaries between biography and fiction, the personal and the collective, are explored, revealing how female experiences are transformed into poetic material. Violeta Parra represents the creative force and social struggle of art, while Ana Cecilia, inspired by the actress's grandmother (Xilena), embodies the resilience and spirituality of anonymous women. The final production, conceived as an encounter between life and death, reclaims theater as an act of memory, healing, and resistance, where women, from different places, continue to rhyme with life.Ítem La relación entre la lesión y la identidad(Universidad Distrital Francisco José de Caldas) Gaona Mora, Valentina; Mejía Patiño, Fabián Andrés; Mejía Patiño, Fabián Andrés [0009-0004-3589-2720]This work explores and investigates the body as a territory inscribed with multiple forms of violence—physical, emotional, and social. Taking as a point of departure a key biographical event—the occurrence of a herniated disc—this research develops an inquiry that links physical collapse to broader processes of accumulated bodily deterioration. The spinal injury functions here as both a theoretical and practical axis, allowing an examination of how the systematic mistreatment of the body manifests on both organic and symbolic levels. This project navigates the intersection between medical studies on physical trauma, the phenomenology of the suffering body, and autobiographical approaches that are exposed through performance. From this transdisciplinary perspective, it proposes a critical reflection that questions how far our bodies can be pushed under excessive demands, while simultaneously exploring how pain can become a creative material. Performance thus emerges not as a mere act of representation, but as a methodology of embodied knowledge—dematerializing the clinical diagnosis in order to reconstruct it as a sensorial experience. In this work, the wound of a herniated disc is not the only one exposed; it also reveals the experience of less visible forms of violence, such as habits of self-neglect, normalized labor pressures, and familial wounds that transform into personal demands. By focusing on a concrete bodily experience, the research seeks to unravel the complex relationships between biography, health, and artistic creation, challenging the discourses that separate the clinical from the lived. The injured body is thus revealed as both archive and testimony—a space where violence is inscribed and from which it can be read.Ítem Pasantía como actriz en obra “Des-Encantadas, y fueron felices para siempre?...” del Teatro Santa Fé(Universidad Distrital Francisco José de Caldas) Parra Mejía , Nathaly Andrea; Romero Rey, SandroThis Internship Report is intended to show the results of my thesis in the "Internship" category, held at the Santa Fe Theater with the play DES-ENCANTADAS, where I played the character Snow White, under the direction of Leonardo Caicedo, putting the tools learned in my degree to use and gaining professional experience in the field of children's musical theater in Bogotá. The family theater play "Des-Encantadas, y fueron felices para siempre?" is a collaborative work in which five famous fairy tale princesses recount their experiences after their divorce, unaware that a new prince is about to arrive, who will make them question their perceptions of love. This report details the activities carried out during the creative process, which included my experience working on a children's musical theater play in Bogotá, assuming the role of an actress and participating in the musical composition process based on the character. In turn, a breakdown of the months of work is provided, and a portion of the script and images of the process are attached.Ítem Investigación-creación: Don Álvaro o la fuerza del verso(Universidad Distrital Francisco José de Caldas) Chávez Gómez, Liset Tatiana; Wells Lascano, Geraldine; Chávez Gómez, Liset Tatiana [0009-0007-6338-9614]This thesis documents a Montaje en Verso (Verse-Based Staging) process, developed within the course of the same name in the Performing Arts program at Universidad Distrital Francisco José de Caldas. The project took place during the first semester of 2024 and was presented to the public from June 3rd to 6th at Teatro Casa Teatrova in Bogotá. The course aimed to produce a theatrical staging, in this case performed by fourteen acting students under the direction of playwright, director, teacher, and theatre researcher Camilo Ramírez Triana, who guided the scenic approach to the play Don Álvaro o la fuerza del sino, written within the context of Spanish Romanticism by Ángel Saavedra, Duke of Rivas. This thesis focuses on three methodological components selected by the author: 1. Contextual analysis of the play, including the historical background of the author and the story, as well as the author’s biography; 2. Theoretical study of Spanish verse: structure, axis, enjambment, synalepha, hiatus, diphthong, types of intonation, and verse pause; 3. Character creation: given circumstances, metric summary, and interpretation of unfamiliar words. Based on these elements, the work presents conclusive reflections drawn from the creative process, highlighting the challenges and accomplishments encountered throughout the staging.Ítem La gallina que sonríe: sistematización de una poética actoral en la construcción de Lucrecia en el montaje Ubuntu, metáfora de la huida(Universidad Distrital Francisco José de Caldas) Gómez Galvis, María José; González Suárez, Isis Exsuri; González Suárez, Isis Exsuri [0009-0000-2272-1528]This undergraduate thesis presents a systematization of the acting creation process of the character Lucrecia, a stage figure developed within the production Ubuntu, Metaphor of the Escape. Through an in-depth analysis of the creative process, the author reflects on the construction of a personal acting poetics in which technique, intuition, and emotional experience converge to shape a symbolic figure situated between the dramatic character and the scenic role. The study examines the corporeal, vocal, and expressive procedures that gave rise to Lucrecia, as well as the aesthetic and formative decisions that configured her stage presence within the framework of a collective creation. Drawing on theoretical references such as Erika Fischer-Lichte, Eugenio Barba, Jacques Lecoq, Anne Bogart, Kristin Linklater, and Jerzy Grotowski, the research explores the dynamic tension between mask and crack, control and excess, containment and fracture—identifying how these polarities articulate a poetics of the body that thinks, feels, and creates through contradiction. Beyond the documentation of a process, this work proposes a reflection on acting autopoetics as a space of thought, arguing that systematization not only records the scenic experience but also enables the articulation and recognition of the sensitive forms that emerge within theatrical creation.Ítem Asumo con total villanía(Universidad Distrital Francisco José de Caldas) Romero Parra, Angie Katerine; Castillo Vela, Angie Catalina; Gallego Hernández, Dubián Darío; Rodríguez Bejarano, Marco Ignacio; Gallego Hernández, Dubián Darío [0009-0007-5937-7741]I fully assume villainy is a scenic and acting reflection that emerges from the creative process of a group of performers who, inspired by female figures such as Alejandra Pizarnik and Amy Winehouse, reconfigure Joseph Campbell’s (1949) “hero’s journey” into a “journey of the anti-heroine.” This undergraduate project is built from practice and personal experience rather than theoretical research, addressing themes such as love, temptation, art, downfall, and death through the actresses’ sensitivity and corporeality. By exploring pain, vulnerability, and feminine self-perception, the authors challenge traditional notions of heroism, redemption, and success, proposing an intimate, political, and poetic scenic discourse. The stage becomes a liminal space—between life and death, the real and the symbolic—where the anti-heroines engage in dialogue with themselves, their references, and the audience, constructing a territory of resistance and creation through the conscious act of assuming their own villainy.Ítem La alquimia del dolor: Indagación auto etnográfica sobre la verdad escénica(Universidad Distrital Francisco Jose de Caldas) Merchan Mateus , Gabriela; Combariza, Juan Manuel; Combariza Juan Manuel [0000-0003-2726-309X]This study examines the transformation of dramatic research into scenic truth through the autoethnographic analysis of two performative embodiments: the mother in Cada vez que ladran los perros (Rubiano) and Cesonia in Calígula (Camus). Using emotional journals, visual reconstructions, and somatic analysis, the research documented how immersion in historical violence (El Salado massacre) triggered psychosomatic phenomena—persistent anxiety, nighttime intrusions—while scenic statism operated as a containment mechanism through gestural economy. The findings reveal that performative authenticity requires not literal immersion in trauma, but its transformation via structured practices: corporeal anchoring, transitional rituals, and theoretical contextualization.Ítem Implementación de herramientas de entrenamiento actoral para el desarrollo de habilidades socioemocionales y comunicativas en las jóvenes del sistema de responsabilidad penal(Universidad Distrital Francisco José de Caldas) Alemán Jiménez , Alejandra; Illera Sarmiento , SebastiánIn Colombia, the Juvenile Justice System (SRPA) faces significant challenges in achieving its objectives, as outlined in Law 1098 of 2006, which aims for restorative justice, truth, and reparation through a process and pedagogical measures that are specific and differentiated from those of the adult system. Many young people in conflict with the law encounter emotional and social barriers that led them into the system and complicate their reintegration into society. This project proposes developing acting training tools and theatrical games as a strategy to enhance communication skills among youth in the juvenile justice system, thus supporting their inclusion processes. It recognizes that theatrical tools can facilitate the development of communication skills, emotional expression, empathy, and creativity.Ítem La voz invisible que intenta salir de la oscuridad impuesta(Universidad Distrital Francisco José de Caldas) Novoa Pinilla, Adriana Paola; Gallego Hernández, Dubián Darío; Gallego Hernández, Dubián Darío [0009-0007-5937-7741]The Invisible Voice That Attempts to Emerge from the Imposed Darkness is configured as a monographic journal that intertwines the theatrical creative process with an intimate exploration of voice, invisibility, and stage experience. Originating from an encounter with Chilean director Luis Aros and his philosophical conception of “voice as a mode of existence,” the text unfolds through reflections that question traditional technical notions, revealing a sensorial, emotional, and transcendent dimension of the body on stage. Invisibility is addressed as both a social and existential phenomenon, imposed by normative structures that exclude what does not conform, but also as an act of resistance and self-protection. Through confessional writing, the author of the present work confronts her fears, academic self-demand, and internal judgment, recognizing how these affected her interpretive process. The theatrical production thus becomes a space of revelation and healing, where voice emerges not only as an artistic tool, but as a symbol of a subjectivity seeking validation. This document offers a critical and sensitive perspective on art as a medium to re-signify pain, presence, and the desire to exist from within the invisible.Ítem La voz como puente entre la fantasía y la realidad(Universidad Distrital Francisco José de Caldas) Villamizar Hurtado, Linda Lucero; Combariza, Juan Manuel; Combariza, Juan Manuel [0000-0003-2726-309X]The undergraduate thesis "The Voice as a Bridge between Fantasy and Reality" reflects on the voice as a creative medium that allows actors to move between imagination, fantasy, and reality. Drawing on personal experiences of vocal training and the dialogue with authors such as Michael Chekhov, D.W. Winnicott, Graciela Montes, Cicely Berry, and Enrique Buenaventura, the research proposes understanding fantasy as a poetic space and the voice as a bridge capable of materializing inner images, memories, and intuitions on stage. Rather than providing absolute answers, the text seeks to open paths of exploration for vocal training based on concentration, intuition, memory, and poetry, so that the actor/actress may integrate their inner and outer worlds and creatively inhabit the boundary between the real and the imaginary.