La alquimia del dolor: Indagación auto etnográfica sobre la verdad escénica

Abstract

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.