Teatro XXI

Editorial

Yanina Leonardi — Wed, 21 Aug 2024 00:00:00 +0000

Presentación del Dossier

Sandra Ferreyra — Fri, 31 May 2024 00:00:00 +0000

Los trabajos que integran este Dossier sistematizan algunas reflexiones realizadas en el marco del grupo de investigación que dirijo y cuyos proyectos están radicados en el Instituto del Desarrollo Humano de la Universidad Nacional de General Sarmiento. Desde 2015, con la creación del Programa de investigación teatral y gestión de públicos ESPECTARES, un equipo conformado por estudiantes, graduadas e investigadores docentes hemos realizados diversas acciones en torno a la figura del espectador: 1) innovaciones pedagógicas orientadas a la formación como espectadores y gestores culturales de los estudiantes de la Licenciatura en Cultura y Lenguajes Artísticos; 2) la programación en las salas de la UNGS de eventos teatrales para desarrollar nuevos públicos en la región noroeste del Conurbano Bonaerense e 3) investigaciones que abordan al espectador no solo en su condición de componente indispensable de la producción escénica sino específicamente como experiencia que puede configurarse a partir del reparto social de prácticas culturales pero que no se limita al lugar que ese reparto le asigna.

Aesthetic experience and perceptual trajectory of spectators in the theater of the city of Buenos Aires.

Sandra Ferreyra — Wed, 29 May 2024 18:25:42 +0000

This article is a reflection on the scope of the aesthetic experience in the perceptual trajectory of theater spectators that occurs in the city of Buenos Aires. We start from Jean Marie Schaeffer's definition of aesthetic experience to deepen aspects of theatrical expectation linked to attention, emotion and taste. As in previous works, we are guided by the interest in approaching the study of the viewer not based on the effect that the work generates but rather based on the opening of the perceptual field and the impact that this opening has on perceptual self-learning. We use the Benjaminian figures of the student and the astrologer to distinguish the focalization and open perceptual activity of a hypothetical spectator of the Buenos Aires theater. Finally, we invite you to think about the relationship between the aesthetic experience and the dynamism of the imaginaries.

Imaginarios en torno a la figura del espectador en el Teatro del Pueblo (1931-1943)

Brenda Sánchez — Wed, 29 May 2024 18:44:48 +0000

Created in 1930, Teatro del Pueblo founded a tradition that remained in force for decades, which has been studied as a cultural phenomenon from historical, aesthetic and political-intellectual perspectives. Whether due to its importance within the Argentine theater field as the founder of an ideological line, or due to its particular work methodology, which still finds resonance in the present, Teatro del Pueblo is presented as a key piece for approaching the history of the independent theaters.

The objective of this article is to highlight some ideas about the figure of the spectator that circulated within the group of artists and intellectuals that were part of Teatro del Pueblo, based on the analysis of a series of texts published in the magazines that functioned as its official broadcasting organs: Metrópolis. De los que escriben para decir algo (1931-1932) and Conducta, al Servicio del Pueblo (1938-1943).

From a perspective of the sociology of culture, we will try to dismantle the conceptual framework that underlies these materials and understand what are the conceptions of spectator, public and people that operate in the imagination of this group, and especially of its director and founder, the writer, journalist and playwright Leónidas Barletta (1902-1975).

Nuevas concepciones en la formación de espectadores y en la gestión de públicos

Daiana González — Wed, 29 May 2024 18:42:41 +0000

Espectadores de lecturas

Carolina Zunino — Wed, 29 May 2024 18:40:46 +0000

This article outlines a series of initial reflections within the framework of an investigation about the experience of viewers in literary reading aloud cycles. These are practices with an extensive tradition in the West, which acquire new modulations from the Latin American and European historical avant-garde, and which have grown significantly as a cultural phenomenon in recent decades in the province and city of Buenos Aires. We propose to analyze them as performances that establish the figure of the spectator of literary reading and establish a particular relationship between literature and bodies, through the voice of the readers and the listening of the public. Based on a series of interviews with organizers and regular participants of the literary reading cycles, and following Barthesian reflections on literary language, reading, voice and listening, we investigate the motivations that lead the public to these meetings. and the particular type of experiences that its spectators have, which a priori we consider different from the experiences of individual silent reading and the theatrical spectator.

The Laughter of the Popular Spectator

Martín Rodríguez — Wed, 29 May 2024 18:22:30 +0000

The Laughter of the Popular Spectator

Abstract

Ethical laughter, that of popular actors, laughs at how far that admired and loved other is able to go. Of course, the ultimate receptor of these actions, in an acting form with an obvious commercial purpose, is the spectator. In this article we will provide some categories to think the relationships that real spectators establish with those who are inscribed in the films addressed. Of course, the most obvious cases are those in which the public is represented in the films (numerous theatral scenes, circus scenes, cabarets or what are called in Mexico “carpas”), but what interests us at this point is to see the ways in which laughter operates as a revolutionary collective articulator between those other spectators who are the other actors who share the scene with the comedian in question. The ethical laughter that arises from admiration for what that other is capable of doing and from the loving acceptance of passions leads to wanting to do the same as that other whom we perceive to be happier, more powerful, more unique, more free. It leads to wanting to be that other and with that other: to compose with him intuitive and unthought relationships that are often experimental and that contain within themselves a revolutionary power whose reach was not always properly measured.

Keywords: Laughter, Popular Spectator, popular actors, films.

Challenges in the theatrical spectator's perception in the digital era

Raylson Silva da Conceição — Wed, 29 May 2024 18:33:48 +0000

During the Covid-19 pandemic, theatrical productions shifted from physical to virtual spaces, causing transformations in audience perception. This article proposes an observational analysis of the impacts of electronic devices on theater, emphasizing that, although these virtual means were previously used, they assumed a crucial role as intermediaries between the theatrical scene and an audience confined to their homes. The literature review is based on the concepts of conviviality and technoliving by Jorge Dubatti (2016) and studies on the science of vision by Jonathan Crary (2012), allowing an explanatory analysis of changes in the theatergoer's perception when using technological tools. Thus, a parallel is drawn between in-person and virtual theater without imposing preconceived values.

Pompeyo Audivert and the dispositive of theatrical composition

Nicholas Dieter Berdaguer Rauschenberg — Wed, 29 May 2024 18:36:56 +0000

We seek in this article to address the theatrical production of the Argentine director, actor, dramaturge and teacher Pompeyo Audivert. At first we reconstruct its aesthetic prerogatives and methodological discourse around the metaphor: the theater as a stone in the mirror. Secondly, we will analyze Audivert's so-called “metaphysical machine”, understanding it as a set of compositional procedures both for training and for the creation and adaptation of plays of texts by other authors. This set of procedures can also lead to a theatrical installation, such as the Ezeiza Museum. Finally, we will briefly reconstruct some of his works seeking to point out the marks of the metaphysical machine as a formal element of composition. Our hypothesis is that the metaphysical machine operates as a dispositive around the metaphorical slogan of the stone in the mirror to compose works that blur the representative and Aristotelian hypotheses seeking to problematize the simulacrum condition of both reality and performance as a set of conventions.

La The anarchist dramaturgy of Salvadora Medina Onrubia

Rocío C. Fernández — Wed, 29 May 2024 18:47:12 +0000

This work analyzes the production of Salvadora Medina Onrubia (1894-1972) based on the piece Las decentradas premiered in 1929. Onrubia is part of a set of dramaturgies that, due to their positioning, produce “heterotopic spaces” that are presented here as the true “aesthetics of libertarian transgression.” An attempt is made to address the impact that the social experience of feminism has had within the dramaturgical field of Buenos Aires, especially that of Buenos Aires. The figure of a “female identity” is addressed, the manifestation in the work of the place that this dramaturgy has in the theatrical field and to what extent authors such as Onrubia express and represent a national dramaturgy of feminist “imprint”.

El vínculo teatro - Estado (2003-2015): un abordaje posible

Larisa Rivarola — Wed, 29 May 2024 18:28:34 +0000

The present work focuses on the relationship between the State and the Alternative theater Subsystem during the period 2003-2015 in the City of Buenos Aires, in which there was a strong intervention of the National State in theater production in the form of financing to the production of works. We maintain that this link had a conflictive nature, and to argue this we use as a case study, the Concertation Regime for unofficial theatrical activity implemented by the National Theater Law No. 24800/97. From this we take the interpretation made by the philosopher Paul Ricoeur (1970) regarding the work of Sigmund Freud, as a tool to think about the paradigms around the various criteria of legitimacy and validation that operated at the time since it allows us explain the relationships between theater and the State, in the first from theatrical production, and in the second, in terms of public policies.

Otro rapto de Europa (o apropiaciones culturales de la periferia): El fuego robado de Carlos Matorras Cornejo

Marcela Sosa — Fri, 02 Aug 2024 11:34:15 +0000

Fragments of a tearful speech

Carolina Reznik — Wed, 26 Jun 2024 21:17:31 +0000

Un amor se me metió en el ojo de La Escalera pone en escena, evidencia y le echa en cara al público su naturaleza voyerista.

Cartografía de la memoria: los pequeños recuerdos de la Patagonia

Gustavo Radice — Wed, 26 Jun 2024 21:02:38 +0000

Reseña sobre la obra teatral platense Pequeña Patagonia, dirigida por Carolina Donnantuoni.

Un A Dark Nest, Stained With Rouge

María Eugenia Bifaretti — Fri, 28 Jun 2024 13:16:19 +0000

Pienso que en el entramado de esta obra se ponen en juego dos sistemas de transmisión, es decir, dos modos de atesorar y compartir memorias: el repertorio, un inventario de gestos, movimientos, acciones efímeras que sólo pueden ser transmitidas en vivo a través del cuerpo –y que por lo tanto requieren presencia– y el archivo, un conjunto de materiales documentales que, en apariencia, permanecen resistentes al cambio (Taylor, 2015). Entonces, al nido-pastiche de esta obra lo componen, por un lado, un repertorio conformado por actos de violencia doméstica y actuaciones de género que las actrices encarnan en un tono grotesco; y por otro lado, un archivo constituído por vestigios de imágenes de la cultura visual y audiovisual que representan estereotipos femeninos con los que ellas actúan para remarcar, exacerbar o torcer sus sentidos.

La THE ETERNAL TOPICALITY OF SHAKESPEARE, IN THE PAMPA TOO…

Susana Llahí — Wed, 26 Jun 2024 21:29:21 +0000

Poner en escena la obra de un clásico supone un gran conocimiento de su esencia, de su espíritu, impone respeto. Quizás sea ese el motivo por el cual una provincia como La Pampa que en el transcurso de su historia tuvo tanto teatro independiente, en muy pocas oportunidades puso una obra de William Shakespeare.

Sabrina Gilardenghi, joven profesora y directora de teatro, decidió llevar a escena Macbeth, la obra de Shakespeare cuya trama muestra la ambición desmedida, el deseo de poder político que no reconoce barreras, que siembra muerte desde el comienzo hasta el fin del reinado que termina con la muerte de Macbeth. En este tiempo donde la historia se mueve en direcciones contrapuestas, donde todo está atravesado por la incertidumbre, donde la deshumanización es lo que impera, Shakespeare adquiere una vigencia que atrae poderosamente a teatristas y espectadores.

La The community as a refuge

Carolina Reznik — Wed, 26 Jun 2024 21:35:37 +0000

Un pueblo chico, pero no un infierno grande. Al contrario, una red de contención y cuidado. Claro que hay historias pasadas, secretos, enemistades –es un pueblo chico– pero por sobre todo eso, y por sobre una fábrica en quiebra que amenaza con convertirlo en un pueblo fantasma, prima el amor y la solidaridad. O por lo menos, éste es el aspecto del pueblo que Gándara de Marcela Arza decide mostrar.

El The Body as the Seat of Subjectivity While the Internal Labyrinths Ring

Pilar de León — Wed, 26 Jun 2024 21:41:22 +0000

Cuando uno sale de ver Rota de Natalia Villamil, actuada por Diana Bresque^[1], bajo la dirección de Marcel Sawchik, surgen preguntas que estallan en el alma: ¿quién puede entrar en los laberintos de una mujer destrozada por la monstruosidad de un hijo femicida?, ¿quién puede imaginar siquiera el sentido de la vida y de la muerte en ese momento inaudito? Actriz y Director logran que ese íntimo infierno penetre en nuestro cuerpo y nos retuerza, nos invada, nos perfore y nos intime a sentir asco y amor a la vez. Porque una madre cuando pare lo único que siente es esperanza, íntima esperanza de haber traído a este mundo un ser único. Y cuando la vida la cachetee, cuando “la luna salga de día”, cuando no haya grito que pronuncie lo real, cuando solo el miedo y la ira descubran el dolor y el asco... será el momento de quebrarse por dentro para siempre.

Lorca and his unhappy loves among the mud and the barking of dogs

Adriana Libonati, Alcira Serna — Wed, 26 Jun 2024 22:11:47 +0000

Tercer cordón del Conurbano. Una tragedia marrón fue galardonada con los reconocidos premios de la Fiesta Regional del Teatro y la Fiesta provincial de Buenos Aires, llegó al Teatro Beckett con funciones a sala llena y fue recibida entre aplausos, dejándonos a la espera de su próximo reestreno. Esta obra es la refuncionalización del texto lorquiano Bodas de Sangre^[1] en donde el lugar del homenaje hace florecer su potencial trágico, desde el sembrado del viñedo español con su uniformidad ultraísta a la riqueza popular del abigarrado conurbano. En nuestra periferia bonaerense, atestada, carenciada y barrosa con ese barro rico en nutrientes semánticos, procedimentales, sociales, étnicos y comunitarios, se desarrolla la tragedia. Este componente de diversidad de estratos sociales y de posibilidades obturadas para su salida, entronca con la pieza generadora.

INDEFINIDA LÍNEA DE FLOTACIÓN

Carla Pessolano, Leilén Araudo — Tue, 23 Jul 2024 21:41:38 +0000

TEATRO CLÁSICO FRANCÉS EN UNA TRADICIONAL SALA PORTEÑA

Iliana Hoffer — Tue, 23 Jul 2024 22:17:34 +0000

Un UN EJERCICIO DE MEMORIA. HAY HISTORIAS QUE NO DEBEN QUEDAR NUNCA EN LAS SOMBRAS, HISTORIAS QUE NOS RECUERDAN QUIÉNES FUIMOS Y QUIÉNES SOMOS

Mariángeles Sanz Vélez — Wed, 24 Jul 2024 00:00:00 +0000

NO HAY VERDAD EN ESTA REALIDAD

Eugenia Guevara — Wed, 24 Jul 2024 12:44:31 +0000

Las LAS MOIRAS O DE CÓMO LOS MITOS Y LAS LEYENDAS CLÁSICAS PERMITEN CUESTIONAR EL ORDEN PATRIARCAL ESTABLECIDO

Evangelina Ramos, Valeria Rellán — Wed, 31 Jul 2024 21:32:45 +0000

La The history of INET and its historical, academic and cultural contribution

Irene de la Puente — Wed, 26 Jun 2024 22:26:28 +0000

Bibliográfica al libro

Entre la tradición y la modernidad: Historia del Instituto Nacional de Estudios de Teatro (1936-2022). Laura Modigliani (edit.). Pŕologo de Jorge Dubatti. CABA: Ministerio de Cultura de la Nación, 2023. Textos: Laura Mogliani, Nicolás Ricatti, Yanina Andrea Leonardi, María Eugenia Cadús, Belén Arenas Arce, Lucía Correa Vázquez, Sofía Rypka, María Cristina Lastra Belgrano, Susana Arenz, Andrea Fernanda Schik.

La historia del INET y su aporte histórico, académico y cultural

Un A TOUR THROUGH THE HISTORY OF THE THEATER FOR CHILDREN IN BUENOS AIRES

Patricia Fischer — Wed, 03 Jul 2024 10:53:10 +0000

Bibliográfica al libro

Historia del teatro para niños en Buenos Aires, 2024. 7 Sellos Editorial Cooperativa.

Susan Alcira Llahí (compiladora), Armida María Córdoba (edición)

New theatrical perspectives from the interior of the country

Victoria Cestau Yannicelli — Thu, 27 Jun 2024 01:52:53 +0000

Bibliográfica al libro

Geografías de la utopía interior. Nuevas y actualizadas perspectivas acerca del teatro uruguayo. Teatro del interior: historias, memoria y utopía. Colección Investigación, Instituto Nacional de las Artes Escénicas. Editorial: Fin de Siglo, 2023. 268 páginas.

Pilar de León, Juan Estrades, María Pollak, Gustavo Remedi, María Noel Tenaglia y Silvia Viroga Suárez.

Danza, teatro comparado, docudrama: recorridos y alcances del trabajo de investigación en una nueva Teatro XXI

Mariana Pensa — Wed, 26 Jun 2024 21:09:00 +0000

THE REAL ON STAGE AS A SOURCE AND MODULATOR OF THE LIVING

Denise Cobello — Thu, 27 Jun 2024 02:00:52 +0000

ARLT: ESCRITOR DE INAGOTABLES LECTURAS

Mariángeles Sanz — Tue, 23 Jul 2024 00:00:00 +0000

REFLEXIONES SOBRE EL TEATRO INDEPENDIENTE

Yanina Andrea Leonardi — Tue, 20 Aug 2024 12:35:31 +0000

Interview with Tamara Tenenbaum

Larisa Rivarola — Tue, 23 Jul 2024 21:19:10 +0000

Entrevista a Tamara Tenenbaum, dramaturga de Las Moiras.

Las moiras

Tamara Tenenbaum — Thu, 04 Jul 2024 11:51:14 +0000

Comité de Redacción

Mon, 30 Dec 2024 17:18:22 +0000