La significación de los zancos en patines como instrumentos de creación escénica: una reflexión desde la semiótica teatral para ´la teorización del teatro de calle colombiano

Abstract

The idea of this text is affirmed that the skate stilts are elements that allow to develop an interpretation excercise of the «theatrical sign». Thus I had to aclarate that at the moment they are taken as scenic creation instruments they are given an interpretive centrality and signifies that they will lead to the realations that reside within the modification of this artifact, at least in two senses: firstable, the modifications in terms of it ´s structure that generated a new form of displacement and posibilities of use; and secondly, once the new forms of use were established, such modifications implied a modification also in the process of creating the play. That´s why I stablish the context of the creation and centrality of this type of stilts on the street theater plays at the beginning of the 90´s, where the Tchyminigagua group as a result of the sociocultural situation in wich his neighborhood was responding with these modifications of conventional stilts to the emerging social needs that affected them; this basically generated an articulation between the need to respond to these needs and, the ideology of the group, wich wanted to generate a reflective-critical attitude in the viewer. In this sense, I argue that theater semiotics is a tool of theorical approach that can deepen the problem of the meaning of the sign, at the moment when I analyze the stilts on skates as a «theatrical sign». Some of what the reader can find will be the discursive relationship that are within the meaning of the stilts on skates as instruments of «scenic creation»; the relationship that this meaning has with the ideology of the theater group; and the relationship that exists between the theatrical sign and the social context in wich it develops