Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2023.50.08
Miguel Gómez
This article deals with deepening the link between the po-etry of Federico García Lorca and the dramatic literature of La piedra os-cura by Alberto Conejero. The theatrical piece is inspired by the existing documentation on the young Rafael Rodriguez Rapún, with whom the poet had a sentimental relationship, which resulted in the writing of the so-called Sonetos del amor oscuro. Alberto Conejero tries to reconstruct, from García Lorca's poetry, their hypothetical relationship, which is also part at the same time of the dramatic event. At the same time, the text defends human values against homophobia from the importance of the generational transmission of literary texts as a patrimonial legacy of culture and improvement of society.
本文探讨了费德里科·García洛尔卡的诗歌与阿尔贝托·康内杰罗的戏剧文学《妓女》之间的联系。这部戏剧作品的灵感来自于关于年轻的拉斐尔·罗德里格斯Rapún的现有文献，诗人与他有着感情上的关系，这导致了所谓的sononetos del amor oscuro的写作。Alberto Conejero试图重建，García Lorca的诗歌，他们假设的关系，这也是戏剧事件的一部分。与此同时，文学文本的世代传承作为文化和社会进步的传承遗产，具有重要的意义，它捍卫人类价值观，反对恐同。
{"title":"Del drama a la poesía y viceversa. La piedra oscura de Alberto Conejero como muestra de transmisión generacional de valores humanos","authors":"Miguel Gómez","doi":"10.32621/acotaciones.2023.50.08","DOIUrl":"https://doi.org/10.32621/acotaciones.2023.50.08","url":null,"abstract":"This article deals with deepening the link between the po-etry of Federico García Lorca and the dramatic literature of La piedra os-cura by Alberto Conejero. The theatrical piece is inspired by the existing documentation on the young Rafael Rodriguez Rapún, with whom the poet had a sentimental relationship, which resulted in the writing of the so-called Sonetos del amor oscuro. Alberto Conejero tries to reconstruct, from García Lorca's poetry, their hypothetical relationship, which is also part at the same time of the dramatic event. At the same time, the text defends human values against homophobia from the importance of the generational transmission of literary texts as a patrimonial legacy of culture and improvement of society.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79847628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2023.50.03
Isaias Fanlo
This article departs from a critical approach to what I call the antierotic turn within Queer Studies —which, in the last years, seems to have left aside debates addressing eroticism, physicality and desire to focus on a different set of questions that go beyond sexuality. The text offers a conciliation between these post-erotic debates and the original physical approach of queer epistemologies through the analysis of theatrical and performative events that have recently taken place in non-conventional spaces in several Spanish cities, as a response to the economic crisis that the country has suffered since 2008. The article suggests the concept toponormativity as a term that addresses non-normative occupations of spaces and addresses how theatrical and performative pieces can question the aforementioned toponormativity and propose different ways to understand and occupy urban spaces
{"title":"El teatro palpable: estrategias queer de resistencia contra la toponormatividad","authors":"Isaias Fanlo","doi":"10.32621/acotaciones.2023.50.03","DOIUrl":"https://doi.org/10.32621/acotaciones.2023.50.03","url":null,"abstract":"This article departs from a critical approach to what I call the antierotic turn within Queer Studies —which, in the last years, seems to have left aside debates addressing eroticism, physicality and desire to focus on a different set of questions that go beyond sexuality. The text offers a conciliation between these post-erotic debates and the original physical approach of queer epistemologies through the analysis of theatrical and performative events that have recently taken place in non-conventional spaces in several Spanish cities, as a response to the economic crisis that the country has suffered since 2008. The article suggests the concept toponormativity as a term that addresses non-normative occupations of spaces and addresses how theatrical and performative pieces can question the aforementioned toponormativity and propose different ways to understand and occupy urban spaces","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81409884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2023.50.01
Alejandra Juno Rodríguez Villar
Outside of festivals, the Comedia as a Golden Age cultural product is at risk of becoming an uprooted element in contemporary cul-ture. There are several phenomena against its integrated survival: the deconstruction of the concepts of “own” and “canonical,” the new gener-ations’ lack of identification, and the ethical and aesthetic processes of reworking and proximation. We propose here a didactic and informa-tive task that brings comedy (closer to its original conception) to general audiences through the creation of films in higher education institutions. As part of an educative digital humanities and public humanities proj-ect, these films would integrate an accessible repository of films based on comedies, facilitate interdisciplinary teaching, and provide the edu-cator with expressive means to teach and show the Comedia beyond the paper, in addition to providing students with experience-based learning.
{"title":"«PAR A QUE SE REPRESENTE ESTA COMEDIA APARENTE QUE HACE EL HUMANO SENTIDO»: REPRESENTAR LA COMEDIA HOY PAR A QUE NO SE OLVIDE EL AYER","authors":"Alejandra Juno Rodríguez Villar","doi":"10.32621/acotaciones.2023.50.01","DOIUrl":"https://doi.org/10.32621/acotaciones.2023.50.01","url":null,"abstract":"Outside of festivals, the Comedia as a Golden Age cultural product is at risk of becoming an uprooted element in contemporary cul-ture. There are several phenomena against its integrated survival: the deconstruction of the concepts of “own” and “canonical,” the new gener-ations’ lack of identification, and the ethical and aesthetic processes of reworking and proximation. We propose here a didactic and informa-tive task that brings comedy (closer to its original conception) to general audiences through the creation of films in higher education institutions. As part of an educative digital humanities and public humanities proj-ect, these films would integrate an accessible repository of films based on comedies, facilitate interdisciplinary teaching, and provide the edu-cator with expressive means to teach and show the Comedia beyond the paper, in addition to providing students with experience-based learning.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82552370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2022.50.06
Patricia González Almarcha
The article outlines a system of analysis of the theater prac-tice in situations of reconstruction. The repercussions of the absence of communicative interaction in the reception of the viewer are argued, especially as a result of the Corona virus and the global health crisis. It starts from the awareness that theater artists are in a constantly chang-ing world that brings with it specific demands to know what is really done on stage. Some analytical possibilities that open up with the audio-visual record of the theater are shown, comparing the cinematographic and theatrical genres, expanding the context of the research work to various hybrid audiovisual subgenres such as the trailer or the theatrical tea ser.For the analysis of the video recorded stage show Amiga, produced by Irina Kouberskaya at her Theater Company, Tribueñe, we first pro-ceed in general terms, explaining how the practice could be broken down into manageable and, in turn, relevant segments. Afterwards, the most typical theatrical activities in the staging are analyzed. Finally, we reflect on the preliminary usefulness of these explorations and the knowledge resulting from their application. The reality of the film re-cord studied shows that the applicability of video as documentation of theatrical praxis is subject to multiple intervening variables.
{"title":"Análisis de la práctica teatral video registrada: Amiga, de Irina Kouberskaya","authors":"Patricia González Almarcha","doi":"10.32621/acotaciones.2022.50.06","DOIUrl":"https://doi.org/10.32621/acotaciones.2022.50.06","url":null,"abstract":"The article outlines a system of analysis of the theater prac-tice in situations of reconstruction. The repercussions of the absence of communicative interaction in the reception of the viewer are argued, especially as a result of the Corona virus and the global health crisis. It starts from the awareness that theater artists are in a constantly chang-ing world that brings with it specific demands to know what is really done on stage. Some analytical possibilities that open up with the audio-visual record of the theater are shown, comparing the cinematographic and theatrical genres, expanding the context of the research work to various hybrid audiovisual subgenres such as the trailer or the theatrical tea ser.For the analysis of the video recorded stage show Amiga, produced by Irina Kouberskaya at her Theater Company, Tribueñe, we first pro-ceed in general terms, explaining how the practice could be broken down into manageable and, in turn, relevant segments. Afterwards, the most typical theatrical activities in the staging are analyzed. Finally, we reflect on the preliminary usefulness of these explorations and the knowledge resulting from their application. The reality of the film re-cord studied shows that the applicability of video as documentation of theatrical praxis is subject to multiple intervening variables.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90052091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2023.50.04
M. Valderrama
This essay studies the seeming contradiction between An-gelica Liddell’s feminism in some of her plays and the misogynistic turn in her more recent works, especially The Scarlet Letter (2018). The theo-retical framework includes Paul B. Preciado’s concept of «auto-guinea pig» and Rebecca Schneider’s “explicit body” to analyze the ways in which physical violence is central to Liddell’s work. The essay then lo-cates Liddell in a lineage of Spanish theatrical traditions: the 19th cen-tury genre astracán and the esperpento, conceptualized by playwright Valle-Inclán in 1920. In this light, Liddell’s violent and provocative per-formative language becomes part of a consolidated tradition rather than an irreverent provocation. This article analyzes case studies such as Yo no soy bonita (2005), La casa de la fuerza (2009) y The Scarlet Letter (2018)
本文研究了安格利卡·里德尔(An-gelica Liddell)在她的一些戏剧中的女权主义与她最近的作品(尤其是《红字》(2018))中厌恶女性的转变之间的看似矛盾。理论框架包括Paul B. Preciado的“自动豚鼠”概念和Rebecca Schneider的“显性身体”来分析身体暴力在Liddell作品中的核心方式。然后，这篇文章将里德尔置于西班牙戏剧传统的谱系中:19世纪的流派astracán和1920年由剧作家Valle-Inclán概念化的esperpento。从这个角度来看，里德尔的暴力和挑衅的表演语言成为一个巩固的传统的一部分，而不是一个不敬的挑衅。本文分析了《你没有美丽的大豆》(2005)、《幸福之家》(2009)和《红字》(2018)等案例研究。
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Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2022.50.09
José Ontiveros
This paper establishes what types of stage languages or aesthetic mediations —originating from the avant-garde— predomi-nate in the dramatic production of Alfonso Vallejo during the politi-cal transition. Aesthetic mediation is a factor of great importance when undertaking an analysis of an author's work, according to, together with psychosocial and historical mediation, the methodological basis on which any dramatic investigation must be based. Following, then, this methodology of mediations, ten works by Alfonso Vallejo have been an-alyzed, namely; Fly-by (1973), Ácido sulfúrico (1978), El desguace (1978), El cero transparente (1978), Monólogo para seis voces sin sonido (1979), Infratonos(1979), A tumba abierta (1979), Cangrejos de pared (1980), Latidos (1980) y Eclipse (1980).
本文探讨了政治转型时期阿方索·巴列霍的戏剧创作中，源自先锋派的何种舞台语言或审美媒介占主导地位。在对作者的作品进行分析时，美学调解是一个非常重要的因素，根据社会心理和历史调解，任何戏剧调查都必须基于方法论基础。在此基础上，本文分析了阿方索·巴列霍的十部作品:Fly-by(1973)、Ácido sulfúrico(1978)、El desguace(1978)、El cero transparente(1978)、Monólogo para seis voces sin sonido(1979)、Infratonos(1979)、A tumba abierta(1979)、angrehs de pared(1980)、Latidos(1980)和Eclipse(1980)。
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Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2023.50.07
Cristobal Arias Sánchez
The Real Escuela Superior de Arte Dramático (RESAD) is since 1992 one of the main centers of artistic studies where playwrights are trained in Spain. Important names in contemporary practice have been formed in this institution, gaining well-deserved recognition in the sector. This laudable corpus is followed by new graduate promotions that enter the stage market with a high level of training. This article highlights the evolution of the latest graduates and graduates in Dra-maturgy by RESAD (promotions 2017/2021), compiling their names, trajectories and those channels through which they make their way. It also analyzes their concerns and ways of understanding the profession and dramatic writing, in this incipient third decade of the 21st century, in order to value their contributions.
{"title":"Dramaturgia emergente en la Real Escuela Superior de Arte Dramático: promociones 2017/2021","authors":"Cristobal Arias Sánchez","doi":"10.32621/acotaciones.2023.50.07","DOIUrl":"https://doi.org/10.32621/acotaciones.2023.50.07","url":null,"abstract":"The Real Escuela Superior de Arte Dramático (RESAD) is since 1992 one of the main centers of artistic studies where playwrights are trained in Spain. Important names in contemporary practice have been formed in this institution, gaining well-deserved recognition in the sector. This laudable corpus is followed by new graduate promotions that enter the stage market with a high level of training. This article highlights the evolution of the latest graduates and graduates in Dra-maturgy by RESAD (promotions 2017/2021), compiling their names, trajectories and those channels through which they make their way. It also analyzes their concerns and ways of understanding the profession and dramatic writing, in this incipient third decade of the 21st century, in order to value their contributions.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83541640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2022.50.05
Juan Pablo Cruces
Used to the immediacy of the cyberspace, theater artists around the world have sought ways to stay relevant in a reality that de-mands increasingly complex visual stimuli. Far from being replaced by audiovisual productions, theater seeks its own identity among the vast film library in streaming services. On the other hand, with the advent of repressive political correctness in the media, the stage runs the risk of entertainment becoming polarized, regardless of the position it comes from. The main characteristic of live productions is the exchange among an audience eager for new incentives, that is the «actor/spectator inter-action». This article explores this «actor/spectator interaction» with the techno-interaction provided by virtual reality tools, thus conditioning a performance into an uncompromising digital piece, providing the audi-ence with the necessary distance to express its opinion, without falling into alienation.
{"title":"Inmersividad, digitalización y polarización: elementos que reacondicionan la escena contemporánea","authors":"Juan Pablo Cruces","doi":"10.32621/acotaciones.2022.50.05","DOIUrl":"https://doi.org/10.32621/acotaciones.2022.50.05","url":null,"abstract":"Used to the immediacy of the cyberspace, theater artists around the world have sought ways to stay relevant in a reality that de-mands increasingly complex visual stimuli. Far from being replaced by audiovisual productions, theater seeks its own identity among the vast film library in streaming services. On the other hand, with the advent of repressive political correctness in the media, the stage runs the risk of entertainment becoming polarized, regardless of the position it comes from. The main characteristic of live productions is the exchange among an audience eager for new incentives, that is the «actor/spectator inter-action». This article explores this «actor/spectator interaction» with the techno-interaction provided by virtual reality tools, thus conditioning a performance into an uncompromising digital piece, providing the audi-ence with the necessary distance to express its opinion, without falling into alienation.","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"117 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83724511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2023.50.02
Andrea Navarro Noguera
Rodrigo García (1964-), in his play Martillo (1989), re-writes the Greek myth of the Atreides, moving away from tradition and recreating a unique type of tragedy. This article seeks to establish some parameters to account for the general willingness, on the part of the director, to explore the characterization of classical heroes. We will pay attention to women, particularly to the role of Clytemnestra within a myth based on the internal and external violence of the «oikos».
{"title":"Teatro y violencia: la influencia de la tragedia griega en Martillo de Rodrigo García","authors":"Andrea Navarro Noguera","doi":"10.32621/acotaciones.2023.50.02","DOIUrl":"https://doi.org/10.32621/acotaciones.2023.50.02","url":null,"abstract":"Rodrigo García (1964-), in his play Martillo (1989), re-writes the Greek myth of the Atreides, moving away from tradition and recreating a unique type of tragedy. This article seeks to establish some parameters to account for the general willingness, on the part of the director, to explore the characterization of classical heroes. We will pay attention to women, particularly to the role of Clytemnestra within a myth based on the internal and external violence of the «oikos».","PeriodicalId":36745,"journal":{"name":"Acotaciones","volume":"131 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79625015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.32621/acotaciones.2022.50.10
Lía Noguera
Based on the Argentine short story El matadero, by Esteban Echeverría written in 1838/9, we propose to analyze the various forms of meaning of the themes that cross this textuality, as well as the resig-nifications that it experiences in its passage to contemporary performing arts: El matadero. Un comentario (2009), directed by Emilio García Wehbi and Marcelo Delgado and Manipulaciones III. El banquete (2012), directed by Diego Starosta. To do this, we will concern ourselves with studying the different intermediary strategies that are established between liter-ature, opera, dance, theater and performance, at the same time that we will concentrate on the study of the social, political, geographical and cultural exclusions that the nineteenth-century story proposes to start-ing from his characters and that are recovered and reformulated in the Argentinean scene of the bicentennial
根据埃斯特班Echeverría于1838/9年创作的阿根廷短篇小说《斗牛士》(El matadero)，我们建议分析跨越这一文本的主题的各种形式的意义，以及它在进入当代表演艺术的过程中所经历的辞职化:《斗牛士》。《评论》(2009)，由Emilio García Wehbi、Marcelo Delgado和Manipulaciones III执导。《宴会》(2012)，迭戈·斯塔罗斯塔执导。为了做到这一点，我们将关注研究在文学、歌剧、舞蹈、戏剧和表演之间建立的不同中介策略，同时，我们将集中研究19世纪故事从他的角色开始提出的社会、政治、地理和文化排斥，这些排斥在阿根廷两百周年的场景中被恢复和重新制定
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