Salsa turgia teatral
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Resumen
The importance of this work lies in recognizing and perceiving each of the theatrical elements of Colombian poetic salsa music and dance, in order to have the base material for the construction of salsaturgia.
For this meeting it is necessary to recognize the concepts of Evreinov, Josette Feral and Oscar Cornago to understand theatricality, as well as the identification of the rhythms and sonorities of Rui Diaz to understand the music. Ulloa's conceptualization of dance as well as the knowledge of its history and the world events that have shaken the planet in the last 120 years, with the history of the world of Diana Uribe, and innumerable stories of people from this salsa world, in addition to interviews, documentaries, books, which were the base material to carry out this investigation.
Among the findings, it was conclude that any differential element that triggers the imagination in those who perceive a moment of life is where the theatricality occurs; although it is by default in the theater, when the spectator loses concentration or imagination for a moment, the theatricality disappears there, therefore it is ephemeral in time.
Theatricality in salsa is found in all its musical, auditory, historical, dance, textual, poetic, and aesthetic aspects, since each of these elements is ambiguous and polyrhythmic symbolically. Furthermore, it was conclude that by identifying the particularities of the theatrical elements of salsa, sufficient material is obtained to build that I am calling salsaturgy, which would be to put into operation all these symbols for the construction of stories or, failing that to provide dance to with theatricality so that it has the possibility of tell a story, helping the perceiver to build a fiction through these symbols.