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Cadáver Exquisito: tres experiencias de investigación performativa en Chile

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Abstract

María José Contreras, Pablo Cisternas y Rox Gómez presentan en este libro los procesos de investigación performativa, creación y montaje de las obras Ópera (Compañía Antimétodo), Croma (Compañía Tercer Abstracto) y Telepatía (Compañía Persona). Construido como un cadáver exquisito, la obra recopila rastros y huellas de estos tres procesos de creación escénica contemporáneos orientados a la investigación para buscar conexiones y quiebres con otras prácticas en el medio teatral.
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Resumen El presente artículo indaga en la utilización de dispositivos reflexivos en las prácticas de creación escénica, los cuales permiten ampliar los registros creativos y levantar conocimientos susceptibles de ser compartidos. En el documento se definirá el concepto de reflexividad a partir de autores provenientes de la educación, y se aplicará al contexto de la creación artística en Chile. El supuesto transversal que se plantea, es que los dispositivos reflexivos potencian el análisis en acto, permitiendo innovar en nuevas estrategias de escenificación y al mismo tiempo profundizar en las mismas prácticas artísticas que se ejecutan. Los dispositivos reflexivos pueden servir tanto como registros, gatillantes de las prácticas, y/o como densificadores teóricos de éstas. Se describirá el caso del dispositivo reflexivo denominado Dramatugia perceptual propuesto por la agrupación teatral nacional Tercer Abstracto. Palabras Clave: Proceso de creación; Teatro; Reflexividad artística; Dispositivo reflexivo.
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Muchas de las teorizaciones que en las últimas décadas han reconocido la relevancia sociocultural e histórica del cuerpo han privilegiado una mirada objetivante que considera el cuerpo como objeto de estudio. En esta presentación introduzco la metodología emergente denominada “práctica como investigación” que busca validar el cuerpo como un agente cognoscitivo por derecho propio promoviendo investigaciones académicas guiadas por la práctica donde el cuerpo con sus quehaceres y saberes es el principal agente movilizador. En el artículo discuto las implicancias epistemológicas, metodológicas y políticas de esta aproximación sosteniendo que esta perspectiva permite un giro epistémico que no se contenta con teorizar el cuerpo sino que busca ampliar el horizonte epistémico a través del cuerpo.
Book
Erika Fischer-Lichte's introduction to the discipline of Theatre and Performance Studies is a strikingly authoritative and wide ranging guide to the study of theatre in all of its forms. Its three-part structure moves from the first steps in starting to think about performance, through to the diverse and interrelated concerns required of higher-level study: Part 1 – Central Concepts for Theatre and Performance Research – introduces the language and key ideas that are used to discuss and think about theatre: concepts of performance; the emergence of meaning; and the theatrical event as an experience shared by actors and spectators. Part 1 contextualizes these concepts by tracing the history of Theatre and Performance Studies as a discipline. Part 2 – Fields, Theories and Methods – looks at how to analyse a performance and how to conduct theatre-historiographical research. This section is concerned with the ‘doing’ of Theatre and Performance Studies: establishing and understanding different methodological approaches; using sources effectively; and building theoretical frameworks. Part 3 – Pushing Boundaries – expands on the lessons of Parts 1 and 2 in order to engage with theatre and performance in a global context. Part 3 introduces the concept of 'interweaving performance cultures'; explores the interrelation of theatre with the other arts; and develops a transformative aesthetics of performance. Case studies throughout the book root its theoretical discussion in theatrical practice. Focused accounts of plays, practitioners and performances map the development of Theatre and Performance Studies as an academic discipline, and of the theatre itself as an art form. This is the most comprehensive and sophisticated introduction to the field available, written by one of its foremost scholars.
Book
How have theatre and performance research methods and methodologies engaged the expanding diversity of performing arts practices? How can students best combine performance/theatre research approaches in their projects? This book's 29 contributors provide hands-on answers to such questions. © In this edition Edinburgh University Press, 2011. © In the individual contributions is retained by the contributors, 2011.
Article
Researchers in the arts, media and design often struggle to find serviceable methodologies within the orthodox research paradigms of quantitative and qualitative research. In response to this and over the past decade, practice-led research has emerged as a potent strategy for those researchers who wish to initiate and then pursue their research through practice. This paper examines the dynamics and significance of practice-led research and argues for it to be understood as a research strategy within an entirely new research paradigm - Performative Research. Taking it’s name from J.L. Austin’s speech act theory, performative research stands as an alternative to the qualitative and quantitative paradigms by insisting on different approaches to designing, conducting and reporting research. The paper concludes by observing that once understood and fully theorised, the performative research paradigm will have applications beyond the arts and across the creative and cultural industries generally.
Crédito: Martín Corvera
  • Concierto
Concierto (2012). Crédito: Martín Corvera
Performance as Research: Knowledge, methods, impact
  • A Arlander
  • B Barton
  • M Dreyer-Lude
Arlander, A., Barton, B., Dreyer-Lude, M., & Spatz, B. (Eds.). (2018). Performance as Research: Knowledge, methods, impact. Londres & Nueva York: Routledge.