RESUMEN Este artículo presenta los resultados exploratorios de una investigación cuyo objetivo es conocer el pensamiento del alumnado de estudios superiores de artes escénicas (AAEE) en España, sobre las variables: formación recibida, finalidad de estos centros, currículo de AAEE, pensamiento sobre el profesorado, satisfacción sobre equipamiento y recursos, estatus de los centros y valoración social, conocimiento y apoyo a las AAEE y de sus estudios. La muestra estuvo formada por 290 sujetos. Se utilizó un cuestionario ad hoc validado por jueces. Los resultados muestran que la hipótesis, que sugería diferencias significativas entre especialidades (Música, Danza, Arte dramático), solo se confirma en tres variables. Y respecto al género en dos variables. También se encuentran diferencias significativas respecto a la satisfacción con los edificios, instalaciones y recursos. Se destaca la importancia y necesidad de realizar estudios que ayuden a perfilar estas profesiones, así como elaborar planes de mejora de los centros.

ABSTRACT This paper presents the exploratory results of a research whose objective is to know the thinking of students of higher studies in performing arts (AAEE) in Spain, on the variables: training received, purpose of these centers, AAEE curriculum, thoughts about the teaching staff, satisfaction with equipment and resources, status of the centers and social appreciation, knowledge, and support to AAEE and their studies. The sample consisted of 290 subjects. An ad hoc questionnaire validated by judges was used. The results show that the hypothesis, which suggested significant differences between specialities (Music, Dance, Dramatic art) is only confirmed in three variables. And regarding gender in two variables. Significant differences are also found with respect to buildings, facilities, and resources. The importance and need to carry out studies that help profile these professions as well as develop plans to improve the centers are highlighted.

RESUMO Este artigo apresenta os resultados exploratórios de uma investigação cujo objetivo é conhecer o pensamento dos estudantes de estudos superiores em artes cénicas (AAEE), em Espanha, tendo em conta as variáveis: formação recebida, finalidade desses centros, currículo das AAEE, reflexão sobre o corpo docente, satisfação com equipamentos e recursos, situação dos centros e valorização social, conhecimento e apoio às AAEE e seus estudos. A amostra foi composta por 290 sujeitos. Foi utilizado um questionário ad hoc validado por juízes. Os resultados mostram que a hipótese que sugeria diferenças significativas entre especialidades (Música, Dança, Arte Dramática) só se confirma em três variáveis. E em relação ao género em duas variáveis. Diferenças significativas também são encontradas em relação a edifícios, instalações e recursos. Destaca-se a importância e a necessidade de realizar estudos que ajudem a traçar o perfil destas profissões, bem como a desenvolver planos de melhoria dos centros.

Die fokus in hierdie teaterhistoriese bespreking is op die gebruik en voorkoms van black- en brownface op die Afrikaanse verhoog. Twee tydperke word bespreek, naamlik (1) die vroeë Afrikaanse toneel (laat-19de eeu tot vroeë-20ste eeu), asook (2) die 1960's tot laat-1970's. Die vroeë Afrikaanse toneel sluit tot 'n mate aan by die vroeë Engelse toneel in Suid-Afrika wat ook 'n bepaalde rasideologie weerspieël het deur middel van die algemene gebruik van black- en brownface op die Suid-Afrikaanse verhoog van die 19de eeu. Hierdie gebruik het sy oorsprong in die minstreel-tradisie wat via Amerika na Engeland en uiteindelik ook na Suid-Afrika gebring is. Die gebruik word gesien as tekenend van 'n bepaalde rasideologie wat die breër koloniale toneel van die 19de eeu (Amerika, Engeland, Kanada, Australië, Indonesië, en ander lande) onderlê het, naamlik een wat 'n hiërargiese onderskeid tussen die onderskeie rasse gepropageer het waarin swart (en bruin mense) as ondergeskik tot blankes beskou is. Terwyl die gebruik van black- en brownface meestal verdwyn het van die Engelse Suid-Afrikaanse verhoë teen die laat 1940's, vind ons in die 1960's tot laat-1970's die ironiese situasie by die staatsgesteunde streeksrade (veral TRUK, SUKOVS en KRUIK) dat 'n verskeidenheid van rassewette veroorsaak dat blanke akteurs steeds swart/bruin karakters uitbeeld in black- en brownface. Eers met die skrapping van hierdie wette kon swart en bruin akteurs hierdie rolle vertolk en verdwyn die gebruik van black- en brownface ook op Afrikaanse verhoë.

In this discussion the focus is on the use and practice of black- and brownface on the Afrikaans stage. Although there are a few studies available on the use of blackface on the South African English stage, little research has been done on this topic with reference to Afrikaans theatre. Although one can discern a number of similarities between the use of this practice within both early Afrikaans and English theatre in South Africa (19th century), this can be attributed to the fact that all colonial theatre of the period (as noticed by Stephen Gray) was highly racialised. Two periods can be distinguished within the development and establishment of Afrikaans theatre where the practice of black- and brownface is found, namely (1) in early Afrikaans theatre (late 19th and early 20th centuries), and (2) in the period of the 1960s to the late 1970s. In the first period (the establishment of Afrikaans theatre) only white actors were used to portray both white and black/coloured characters on stage and thus made use of burnt cork/ polish/make-up to portray these black/coloured characters. It is, however, clear when one consults both the standard theatre histories (FCL Bosman, LWB Binge, Jill Fletcher), as well as study the early Afrikaans plays themselves (inter alia, Melt Brink, CL Langenhoven, and most Afrikaans plays in the 1940's and 1950's), that such portrayals were linked to a particular racist ideology. The practice of blackface originated in America with the appearance of blackface minstrelsy and was exported via travelling minstrel groups to England, South Africa, and other colonies where it was for a period extremely popular. Although Afrikaans theatre did not produce any minstrel shows as can be found in early English South African entertainment acts, the portrayal of black and brown characters does show a few similarities with blackface minstrelsy characters. These characters are also caricatured (through their names, physical appearance, actions, and utterances), while a clear racial hierarchy is presented in these plays (they are slaves, maids, servants to the white masters and madams). While this type of black- and brownface portrayals disappeared after the 1950's and the portrayal of these characters became more sympathetic from the 1960's with a new generation of Afrikaans playwrights (André P Brink, Bartho Smit, and others) critical of the Nationalist Party's race-based ideology, we find the ironic situation that these portrayals on stage again made use of black- and brownface make-up since various laws prohibited the mixing of races on stage or even within the auditorium. The state-funded Arts Councils (inter alia PACT, PACOFS) had to comply with these laws, although all of them (for example Pieter Fourie at CAPAB) actively agitated against this situation. While many English theatre practitioners simply cut their ties with the Performing Arts Councils and established theatres like The Market Theatre (Johannesburg) and The Space Theatre (Cape Town) which were non-racial, the state-funded theatres continued with these portrayals during the 1970's till the race-based laws were retracted and theatres were open to all races.

Abstract Television became the most important communication device in the 1990s, reaching all middle-class households and playing a relevant role in constructing shared social meaning. The aim of this article is to examine different dimensions and senses of humor in El palacio de la risa, a very popular television comedy show hosted by Antonio Gasalla between 1992 and 1996 -broadcast by ATC and Canal 13- in Argentina. We will focus on the sketches starred by the actors Alejandro Urdapilleta and Humberto Tortonese, who, together with Gasalla, introduced relevant innovations in the production of television humor. In the first section, we will analyze which elements of performing arts of the 1980s underground are used and put into play in this television comedy. Then, we will examine three dimensions that function as crucial material for the trio's humorous production: the critique of the Argentinean high classes, the tension between dominant and dissident sexualities, and the parodic mentions made about television itself. In terms of methodology, the work was based on an analysis of 30 sketches by the Urdapilleta-Gasalla-Tortonese trio, frequent subjects, aesthetic aspects, body gestures and discursive uses. In short, the work seeks to make a contribution to the knowledge of mass culture, as well as the parody and destabilization of the common sense upheld by television during the 1990s in Argentina.

Resumen La televisión se constituyó en el dispositivo comunicacional de mayor importancia en los años 1990, al llegar a todos los hogares de clase media y ocupar un rol preponderante en la elaboración de sentidos sociales compartidos. El objetivo de este artículo es indagar distintas dimensiones y sentidos del humor en El palacio de la risa, programa humorístico de gran relevancia conducido por Antonio Gasalla entre 1992 y 1996 y transmitido por ATC y Canal 13, en Argentina. Nos enfocaremos en los números protagonizados por los actores Alejandro Urdapilleta y Humberto Tortonese, quienes, junto a Gasalla, introducen importantes innovaciones en la producción humorística televisiva. En la primera sección, analizaremos qué elementos del teatro underground de los años 1980 son recuperados y puestos en juego en la propuesta televisiva. A continuación, se examinarán tres dimensiones que funcionan como materia prima para la producción humorística del trío: la crítica a las clases dominantes argentinas, la tensión entre sexualidades dominantes y disidentes, y las menciones paródicas realizadas sobre la propia televisión. En cuanto a la metodología, el trabajo fue realizado en base a un análisis de 30 sketches del trío Urdapilleta-Gasalla-Tortonese, registrando temas, aspectos estéticos, gestualidad corporal y usos discursivos. En suma, el trabajo realiza una contribución al conocimiento de la cultura de masas y las posibilidades paródicas y de desestabilización del sentido común de la televisión durante los años 1990 en Argentina.

Abstract: The general purpose of this paper is to offer an integrative framework of the emotional architecture of education and its implications for the design of pertinent educational interventions in the processes of human development. Specifically, the emotional components and mechanisms involved in educational processes that have proven to be effective are examined. To this end, an analytical approach based on a documentary review of scientific and humanistic studies has been applied. The questions that have guided this study have been: What do we mean when we talk about emotion in Educational Sciences? What components and mechanisms define the emotional architecture of educational processes? It is concluded that the emotional architecture of education has a multidimensional character as it concerns organic, psychic, and socio-cultural realities. Furthermore, the essential components for educating and learning have their most important instruments in emotions: these include desire and enthusiasm. The most relevant emotional mechanisms are involvement-of teacher and learner-resonance as well as emotional proximity. The pedagogical implications are support for affective education that integrates the learning of well-being and suffering, and the use of experiential, participatory, and artistic methodologies-especially, performing arts-and support structures for education professionals and students.

Resumen: El propósito general de este estudio es ofrecer un marco de análisis integrador sobre la arquitectura emocional de la educación y sus implicaciones para el diseño de acciones educativas pertinentes en los procesos de formación humana. De modo específico, se analizan los componentes y mecanismos emocionales implicados en los procesos educativos que han probado su efectividad. A tal fin, se ha aplicado un enfoque analítico basado en una revisión documental a partir de estudios científicos y humanísticos. Las preguntas que han guiado este estudio han sido: ¿a qué nos referimos cuando hablamos de emoción en las ciencias de la educación?, ¿qué componentes y mecanismos definen la arquitectura emocional de los procesos educativos? Se infiere que la arquitectura emocional de la educación posee un carácter pluridimensional, pues concierne a realidades orgánicas, psíquicas y socioculturales; asimismo, que los componentes esenciales para educar y aprender tienen en las emociones sus instrumentos más destacados, entre ellos, deseo y entusiasmo. Como mecanismos emocionales más relevantes se encuentran la implicación -del enseñante y el aprendiz- la resonancia y la proximidad emocional. Las implicaciones pedagógicas son apostar por una educación afectiva que integre el aprendizaje del bienestar y del dolor, y la apuesta de metodologías experienciales, participativas y artísticas -especialmente dramáticas o escénicas- y dispositivos de acompañamiento para los profesionales de la educación y los estudiantes.

RÉSUMÉ Cet article, qui s’inscrit dans le cadre d'une recherche doctorale, réfléchit sur certains aspects cosmogoniques d’Exu, un orixá yoruban, et ses relations avec le spectacle Mesa Farta, de la troupe de théâtre Pretagô (Porto Alegre-Brésil). Les fondements mythicophilosophiques qui composent la connaissance des origines africaines sont discutés; Les stratégies scéniques développées au cours du processus de création sont identifiées et organisent une manière de penser la pratique scénique elle-même, basée sur des hypothèses éloignées des notions théâtrales et performatives eurocentriques. On voit que la notion d'afrotempo, conçue comme une stratégie noire de relation au processus de création géré par les artistes du groupe, permet de nouvelles approches du faire et d'inscrire l'éthique et la philosophie noires dans le champ des arts du spectacle. article sinscrit s inscrit dune d doctorale dExu, dExu Exu, Exu d’Exu yoruban Farta Porto AlegreBrésil. AlegreBrésil Alegre Brésil . Alegre-Brésil) discutés ellemême, ellemême elle même, même elle-même eurocentriques dafrotempo, dafrotempo afrotempo, afrotempo d'afrotempo groupe dinscrire inscrire léthique l éthique Alegre-Brésil

ABSTRACT This article, which is part of a doctoral research, reflects on some cosmogonic aspects of Exu, a Yoruban orisha, and his relations with the spectacle Mesa Farta (‘Plentiful Table’), by the theater group Pretagô (Porto Alegre-Brazil). The mythic-philosophical foundations that constitute knowledge of African origins are discussed; scenic strategies developed in the process of creation, that organize a way of thinking about scenic practice itself, based on assumptions distanced from Eurocentric theatrical and performative notions, are identified. It appears that the notion of afrotempo (‘Afro-time’), conceived as a Black strategy for relating to the creation process managed by the group’s artists, enables new approaches to doing and inscribing Black ethics and philosophy in the field of performing arts. article research Exu orisha ‘Plentiful Plentiful Table, Table , Table’) Porto AlegreBrazil. AlegreBrazil Alegre Brazil . Alegre-Brazil) mythicphilosophical mythic philosophical discussed itself notions identified ‘Afrotime, Afrotime ‘Afro time Afro (‘Afro-time’) groups s artists arts Table’ Alegre-Brazil ‘Afrotime (‘Afro-time’ (‘Afro-time

RESUMO O presente artigo, que faz parte de uma pesquisa de doutorado, reflete sobre alguns aspectos cosmogônicos de Exu, orixá iorubano, e suas relações com o espetáculo Mesa Farta, do grupo de teatro Pretagô (Porto Alegre-Brasil). Discutem-se os fundamentos míticos-filosóficos que compreendem o saber de matrizes africanas; identificam-se estratégias cênicas desenvolvidas no processo de criação que organizam um modo de pensar a própria prática cênica, desde pressupostos distanciados das noções teatrais e performativas eurocentradas. Verifica-se que a noção de afrotempo, tramada como estratégia negra de relação com o processo de criação agenciado pelas(os) artistas do grupo, possibilita novas abordagens do fazer e do inscrever uma ética e uma filosofia negras no campo das artes cênicas artigo doutorado Exu iorubano Farta Porto AlegreBrasil. AlegreBrasil Alegre Brasil . Alegre-Brasil) Discutemse Discutem se míticosfilosóficos míticos filosóficos africanas identificamse identificam cênica eurocentradas Verificase Verifica afrotempo pelasos pelas pelas(os Alegre-Brasil

RÉSUMÉ: Protagonisme des Corporites Dissidentes: processus de création Du Project Décoloniser les Pratiques Scéniques...– Ce texte presente les príncipes fondament aux de la perspective décoloniale dans des intersections possibles avec les arts Du corps. Une brève réflexion critique est menée sur les activités artistico-pédagogiques qui ont constitué Le projet culturel Décoloniser les Pratiques Scéniques..., réalisé en 2021, dont l’objectif central était de faire l’éloge de sujets em dissidence et de leur élévation effective au statut de protagonistes de performances vidéo d'auteur. Certaines de ces œuvres sont analysées à l’aide de concepts et de pratiques qui imprègnent les arts de las cène, Le tournant décolonial et les études sur Le genre et la sexualité. RÉSUMÉ Dissidentes Scéniques Scéniques... corps artisticopédagogiques artistico pédagogiques 2021 lobjectif l objectif léloge éloge dauteur. dauteur d auteur. auteur d'auteur laide aide cène sexualité Scéniques.. 202 Scéniques. 20 2

ABSTRACT Protagonisms of Dissident Corporealities: creative processes for the project Decolonizando Práticas Cênicas... – This text presents fundamental principles of the decolonial perspective in possible intersections with the arts of the body. A brief critical reflection is made on the artistic-pedagogical activities that made up the cultural project Decolonizando Práticas Cênicas… (Decolonizing Scenic Practices…), held in 2021, which central objective was to praise dissident subjects and their effective elevation to the status of protagonists of authorial videoperformances. Some of these works are analyzed using concepts and practices that permeate the performing arts, the decolonial turn and gender and sexuality studies. Corporealities Cênicas Cênicas.. body artisticpedagogical artistic pedagogical Decolonizing Practices, Practices , Practices…) 2021 videoperformances studies Cênicas. Practices… 202 20 2

RESUMO Protagonismos de Corporeidades Dissidentes: processos de criação para o projeto Decolonizando Práticas Cênicas... – Este texto apresenta princípios fundamentais da perspectiva decolonial em possíveis intersecções com as artes do corpo. Elabora-se uma breve reflexão crítica de atividades artístico-pedagógicas que compuseram o projeto cultural Decolonizando Práticas Cênicas..., executado em 2021, cujo objetivo central foi o enaltecimento de sujeitos em dissidência e sua efetiva alçada ao status de protagonistas de videoperformances autorais. Analisam-se algumas dessas obras por meio de conceitos e práticas que permeiam as artes performativas, o giro decolonial e os estudos de gênero e sexualidade. Dissidentes Cênicas Cênicas.. corpo Elaborase Elabora se artísticopedagógicas artístico pedagógicas 2021 autorais Analisamse Analisam performativas sexualidade Cênicas. 202 20 2

RÉSUMÉ Transcentralité, Travestiland, Traviarchie : la scène et la dissidence de genre au Brésil – Cet article vise à mettre en perspective historique les relations entre les arts (notamment les arts du spectacle) et les identités ‘travestis’ au Brésil depuis le XXe siècle. S’appuyant sur une revue de la littérature incluant à la fois des travaux académiques et des documents non académiques, l’étude identifie trois modèles (ou paradigmes) d’insertion dans la société vécus par les artistes ‘travestis’ : la transcestralité, le travestiland et, plus récemment, la traviarchie. Cette distinction permet de mieux interpréter et comprendre le rôle social joué par la génération actuelle de ces artistes : si d’un côté elles alimentent le changement social avec leur travail à la fois artistique et politique, de l’autre ce rôle ne peut être compris que comme le résultat d’un processus historique, dans lequel l’importance et la contribution des artistes des deux autres paradigmes doivent également être reconnues. Transcentralité Travestiland notamment spectacle ‘travestis travestis siècle Sappuyant S appuyant létude l étude ou dinsertion d insertion transcestralité récemment traviarchie dun un politique lautre autre limportance importance reconnues

ABSTRACT Transcestrality, Travestiland, Traviarchy: the stage and gender dissidences in Brazil – This article aims to put into historical perspective the relationship between the arts (especially performing arts) and travestilities in Brazil since the beginning of the 20th century. Based on a literature review that included both academic works and non-academic documents, the study identifies three patterns (or paradigms) experienced by travesti artists in what refers to their insertion in society: transcestrality, travestiland, and, more recently, traviarchy. This allows a better interpretation and understanding of the role played by the current generation of these artists: if on the one hand they fuel social change with a work which is both artistic and political, on the other this role can only be understood as the result of a historical process, in which the importance and contribution of artists from the other two paradigms must be also recognized. Transcestrality Travestiland Traviarchy especially th century nonacademic non documents or society transcestrality travestiland recently traviarchy political process recognized

RESUMO Transcestralidade, Travestilândia, Traviarcado: o palco e as dissidências de gênero no Brasil – Este artigo tem como objetivo colocar em perspectiva histórica a relação entre as artes (sobretudo cênicas) e as travestilidades no Brasil a partir do início do século XX. Com base em uma revisão de literatura que incluiu tanto trabalhos acadêmicos como documentos não acadêmicos, o estudo distingue três padrões (ou paradigmas) de inserção na sociedade experimentados por artistas travestis: a transcestralidade, a travestilândia e, mais recentemente, o traviarcado. Essa distinção permite interpretar e compreender melhor o papel da atual geração dessas artistas: se de um lado elas alimentam a mudança social com seu trabalho ao mesmo tempo artístico e político, de outro esse papel só pode ser entendido como resultado de um processo histórico, em que a importância e a contribuição de artistas dos outros dois paradigmas devem ser igualmente reconhecidas. Transcestralidade Travestilândia Traviarcado sobretudo cênicas XX ou travestis transcestralidade recentemente traviarcado político histórico reconhecidas

Resumo: Este estudo reflete sobre o potencial de uma metodologia feminista baseada em uma imersão no processo criativo da peça De Gênero. O opressor não seria tão forte se não tivesse cúmplices entre os oprimidos de Pandora Colectivo Teatral, Chile. Para este fim, caracterizo o patriarcado como uma forma de produção de conhecimento em vigor que estrutura as relações sociais e todos os vínculos com a vida. Pesquiso nas respostas de diferentes feminismos a partir de dimensões epistemológicas e metodológicas, e reflito sobre como o trabalho teatral do Colectivo Pandora se articula como uma metodologia com princípios feministas e quais são suas potencialidades. Nossas lutas como mulheres no mundo nos obrigam a subverter os limites normativos de uma construção patriarcal do conhecimento, a reconhecer, valorizar e promover práticas que nos permitam repensar o conhecimento para além das fronteiras acadêmicas. Resumo Gênero Teatral Chile fim vida metodológicas potencialidades reconhecer acadêmicas

Abstract: This study reflects on the potential of a feminist methodology based on the immersion in a creative process related to the theatre play Gender. The oppressor would not be so strong if he did not have accomplices among the oppressed by Pandora Colectivo Teatral, based in Chile. For this purpose, I characterize patriarchy as a knowledge-production force that structures social relations and every aspect of life. I draw on insights from different feminist traditions emerging from epistemological and methodological dimensions, and I reflect on how the theatrical work of Colectivo Pandora articulates a methodology with feminist principles, and what are its potentialities. Our struggles as women in the world require us to subvert the normative limits of patriarchal knowledge construction and recognize, value, and promote practices that allow us to rethink knowledge beyond academic boundaries. Abstract Gender Teatral Chile purpose knowledgeproduction production life dimensions principles potentialities recognize value boundaries

Resumen: El presente estudio reflexiona sobre las potencialidades de una metodología feminista a partir del proceso creativo de la obra De género. El opresor no sería tan fuerte si no tuviese cómplices entre los propios oprimidos de Pandora Colectivo Teatral, Chile. Para el cometido, realizo una caracterización del patriarcado como forma de producción de conocimiento vigente que estructura las relaciones sociales y todo vínculo con la vida. Indago en las contestaciones de distintos feminismos desde dimensiones epistemológicas y metodológicas, y reflexiono cómo es que el trabajo teatral de Colectivo Pandora se articula como una metodología con principios feministas y cuáles son sus potencialidades. Nuestras luchas como mujeres en el mundo nos exigen subvertir los límites normativos de una construcción del saber patriarcal, para reconocer, valorar y potenciar prácticas que nos permitan repensar el conocimiento más allá de las fronteras académicas. Resumen género Teatral Chile cometido vida metodológicas patriarcal reconocer académicas

Abstract Rooted in modern culture and strongly linked to the circus, the art of the clown and of clowning reveals itself as a fruitful space for the reflection on artistic training. This article aims to provide a critical look at the processes that trainers of clowns had received in their artistic training. From the data resulting from an online questionnaire carried out in 2019 and disseminated on social networks, we found 110 professionals in the teaching of clowning spread across the five regions of Brazil. By analyzing the obtained responses, we can have a first understanding of the various processes of clown formation currently taking place in the country. A critical look at what has been and is being done allows improving what can be done in the future. circus training 201 networks 11 Brazil responses country future 20 1 2

Resumo Sedimentada na cultura moderna e fortemente atrelada ao circo, a arte do palhaço e da palhaça revela-se como um profícuo espaço para a reflexão da formação artística. Este artigo pretende oferecer um olhar crítico para os processos que os formadores e as formadoras de palhaços e palhaças receberam em suas formações artísticas. A partir dos dados resultantes de um questionário online realizado em 2019 e divulgado em redes sociais, encontramos 110 profissionais do ensino da palhaçada espalhados pelas cinco regiões do Brasil. Ao analisar as respostas obtidas, podemos delinear um primeiro entendimento dos diversos processos de formação de palhaços e palhaças que estão acontecendo no país. Um olhar crítico para o que foi e está sendo feito possibilita um aperfeiçoamento do que poderá ser aprimorado no futuro. circo revelase revela se artística artísticas 201 sociais 11 Brasil obtidas país futuro 20 1 2

Abstract This paper explores the play Carnes tolendas. Retrato escénico de una travesti, starring the award-winning Argentinean actress and writer Camila Sosa Villada and directed by María Palacios. From the perspective of Theatre Studies, we analyze the possibility of the play to produce scenes of equality in terms of Jacques Rancière (2010; 2012). For this purpose, we observe how the performance is part of the crisis of the character (Ryngaert, 2013) in virtue of the fact that the construction of the staging consists on multiple textualities that are identified and reconstructed. We delve into the description and analysis of the construction of voices (Jolly and Moreira da Silva, 2013) and corporealities (Fischer-Lichte, 2011) that stage different materials, including dramatic texts, songs, biographical accounts and openings for dialogue with the audience. On stage, Sosa Villada summons numerous bodies: the bodies of violent men from the family and police universe, the bodies of fragile women, the broken and worn bodies of García Lorca's women, her own trans body and even her own old body. The stage constructs and deconstructs representations of bodies and voices in the rhapsodic logic that stitches fragments together in contemporary theatre. The dramaturgy of the stage opens up the possibility for spectators to go through an experience that gives voice to an invisible history and to be dazzled by the poetic capacities of the performer.

Resumen El presente trabajo consiste en un estudio de la obra Carnes tolendas. Retrato escénico de una travesti, protagonizada por la galardonada actriz y escritora argentina Camila Sosa Villada y dirigida por María Palacios. Desde la perspectiva de los estudios teatrales, analizaremos la posibilidad de la obra de producir escenas de igualdad en términos de Jacques Rancière (2010; 2012). Para ello observamos cómo el espectáculo se inscribe en la crisis del personaje (Ryngaert, 2013) en virtud de que la construcción de la puesta está atravesada por múltiples textualidades que son identificadas y reconstruidas. Se profundiza en la descripción y análisis de la construcción de voces (Jolly y Moreira da Silva, 2013) y corporalidades (Fischer-Lichte, 2011) que escenifican distintos materiales, entre ellos textos dramáticos, canciones, relatos biográficos y aperturas al diálogo con la audiencia. En escena, Sosa Villada convoca numerosos cuerpos: cuerpos de varones violentos del universo familiar y policial, cuerpos de mujeres frágiles, cuerpos rotos y gastados de mujeres lorqueanas, su propio cuerpo travesti y hasta su antiguo cuerpo. La escena construye y deconstruye representaciones de cuerpos y voces en la lógica rapsoda que cose fragmentos en el teatro contemporáneo. La dramaturgia escénica abre la posibilidad de que el público experimente una puesta en escena que da voz a una historia invisibilizada y se deslumbre con las capacidades poéticas de la intérprete.

Abstract One can easily argue that since Marx and Engels demise of nineteenth century Utopian socialism, characterizing Utopianism as an “idealism deeply and structurally averse to the Political”, utopia has migrated into fiction. With no surprise, Alain Badiou has famously declared the “passion for the real” as the twentieth century’s “major subjective trait”. The (early) twenty first century has also succumbed helplessly to the eruption of the real. But the times we live today seem to be claiming for something else. Over the past two decades utopian thinking seems to have resurfaced. The severity and monumentality of the issues that afflict the world today are inciting a central question for artists: in the face of an imminent catastrophe, what is the use of utopian imagination at the end of times? What is the purpose of artistic endeavours in a finite world. Utopian (or dystopian) fiction and has always dealt with the envisioning of a future anchored in possible or impossible scenarios, helping the world to correct its wrong doings, to improve, to transform, to threat with dreadful outcomes or to denounce present inequalities. However, if we consider that the world needs to start a new narrative, performing arts can help us to expand imagination, freeing political thinking from the constraints of the real world and wide open to “social dreaming”. In this paper, I aim to combine a speculative reflection grounded on utopian studies and in political theatre considering that performing arts are in a particularly good position to intervene in “social imaginary. This frame incites us to rethink the possibilities of political theatre today and its ontology, fighting for the rooting of (artistic) utopia in the imagination of politics, trusting that art and theatre will be able to help us to invent scenarios that today seem impossible or that we have not yet managed to conceive. socialism idealism Political, Political , Political” surprise passion centurys s major trait. trait . trait” early (early else resurfaced artists catastrophe dystopian doings improve transform inequalities However narrative social dreaming. dreaming dreaming” paper imaginary ontology (artistic politics conceive

Resumo Pode-se facilmente argumentar que desde o desmerecimento do socialismo utópico do século XIX por Marx e Engels, caracterizando o utopismo como um “idealismo profunda e estruturalmente avesso ao político”, a utopia migrou para a ficção. Sem surpresa, Alain Badiou declarou a famosa “paixão pelo real” como o “principal traço subjetivo” do século XX. O (início) do século XXI também sucumbiu impotentemente à erupção do real. Mas os tempos que vivemos hoje parecem exigir outra coisa. Nas últimas duas décadas, o pensamento utópico parece ter ressurgido. A gravidade e a monumentalidade das questões que afligem o mundo hoje suscitam uma questão central para os artistas: face a uma catástrofe iminente, para que serve a imaginação utópica no fim dos tempos? Qual é o propósito dos empreendimentos artísticos em um mundo finito. A ficção utópica (ou distópica) lidou sempre com visões de um futuro ancorado em cenários possíveis ou impossíveis, ajudando o mundo a corrigir os seus erros, a melhorar, a transformar, a ameaçar com resultados terríveis ou a denunciar as desigualdades actuais. No entanto, se considerarmos que o mundo precisa de iniciar uma nova narrativa, as artes performativas podem ajudar-nos a expandir a imaginação, libertando o pensamento político dos constrangimentos do mundo real e abrindo-nos ao “sonho social”. Neste texto, pretendo combinar uma reflexão especulativa baseada em estudos utópicos e no teatro político, considerando que as artes performativas estão numa posição particularmente boa para intervir no “imaginário social”. Este enquadramento incita-nos a repensar as possibilidades do teatro político hoje e a sua ontologia, lutando pelo enraizamento da utopia (artística) no imaginário da política, confiando que a arte e o teatro poderão ajudar-nos a inventar cenários que hoje parecem impossíveis ou que ainda não conseguimos conceber. Podese Pode Engels idealismo , político” surpresa paixão principal subjetivo XX início (início coisa décadas ressurgido artistas iminente finito distópica erros melhorar transformar actuais entanto narrativa ajudarnos ajudar nos abrindonos abrindo sonho social. social . social” texto incitanos incita ontologia artística (artística política conceber

ABSTRACT This essay is a reflection on the role of communication technologies in theater during the post-pandemic period, and on the commitments that must be re-assumed as artists, teachers and students of performing arts in the Peruvian context. Taking the premise that theater requires the physical presence of actors and spectators to exist and, in turn, that the intervention of digital media is an unstoppable constant in the social evolution, we conclude on the need to involve technologies and the Internet as part of the process of poetic-scenic construction, as well as the importance of redoubling the effort to generate spaces for the physical encounter between artists and spectators.

RESUMEN El presente ensayo es una reflexión acerca del rol de las tecnologías de la comunicación en el teatro durante la pospandemia, y sobre los compromisos que hay que asumir como profesionales de las artes escénicas en el ámbito peruano. Tomando la premisa de que el teatro requiere de la presencia física de actores y espectadores para existir y, a su vez, de que la intervención de los medios digitales es una constante imparable en el devenir social, se concluye en la necesidad de involucrar las tecnologías y el Internet como parte del proceso de construcción poético-escénica, así como la importancia de redoblar el esfuerzo en generar espacios para el encuentro físico entre artistas y espectadores.

Resumen Este artículo estudia el papel del teatro de máscaras en la transformación de las artes escénicas en Corea a lo largo del siglo XX y sus conexiones con el teatro moderno y el europeo. Se analizan los cambios producidos en los periodos que han marcado las distintas etapas del teatro en la península coreana y, en particular, en la República de Corea después de la división del país. Se examina la situación durante la colonización japonesa para luego, tras la guerra de Corea, centrarse en el desarrollo del teatro contemporáneo en la posguerra y la dictadura hasta llegar al periodo democrático. Igualmente, se presentan ejemplos de trabajos realizados por profesionales de las artes escénicas para hacer realidad las nuevas formas del teatro coreano. El teatro se adaptó en cada momento a los cambios históricos, sociales y culturales que ocurrían en la península.

Abstract This article studies the role played by mask theater in the transformation of Korean performing arts throughout the twentieth century, and its connections to modern and European drama. It analyzes the changes taking place in the periods that have marked the different stages of the performing arts within the Korean peninsula, and in particular in the Republic of Korea after the division of the country. The text examines the situation during Japanese colonization, and then it focuses on the development of contemporary theater in the years after the Korean War, from the dictatorship to the democratic period. There are examples of work by performing arts professionals to bring new forms of Korean theater to life. The theater adapted during this period to the historical, social, and cultural changes taking place in the peninsula.

Abstract The object of this article, whose research adopts a qualitative approach, takes an interdisciplinary path and has an applied nature, is the potential formation of theatre audiences seeking to turn them into virtually lasting public through artistic and communication practices in the field of performing arts called “audience-foyer” and “dramatic reading”. At the theoretical and methodological levels, with descriptive and interpretative purposes, it draws from the model of studies of communication as dialogue, typical of the Latin American thinking in communication, from a public relations perspective, in which the practice of conversation and commentary, between the logic of organisational communication and the affection of art, emerges for the production of the social bond between artists and audience/public. This case study is about Teatro Mosaico (Brazil), in the staging of two dramatic texts: o Prólogo (Prologue), by director Sandro Lucose (2005), and A Caravana da Ilusão (The Illusion’s Caravan), by director Alcione Araújo (2000), where comedy and drama, in the same play, made the paths of a theatre company bifurcate.

Resumo O objeto deste artigo, em pesquisa de abordagem qualitativa, trajeto interdisciplinar e de natureza aplicada, é a formação de plateia de teatro, em sua eventualidade, e a busca pela sua transformação em público, virtualmente duradouro, através de práticas artísticas e comunicacionais designadas no campo das artes cênicas de “plateia-foyer” e “leitura dramatizada”. No plano teórico-metodológico, com objetivo descritivo e interpretativo, parte do modelo de estudos da comunicação como diálogo, característica do pensamento latinoamericano em comunicação, numa perspectiva de relações públicas, em que a prática da conversação e do comentário, entre a racionalidade da comunicação organizacional e o afeto da arte, emerge para a produção da vinculação social entre artistas e plateia/público. Opta-se por um estudo de caso sobre o Teatro Mosaico (Brasil), na montagem de dois textos dramatúrgicos: o Prólogo, do diretor Sandro Lucose (2005), e A Caravana da Ilusão, do diretor Alcione Araújo (2000), em que comédia e drama, no mesmo espetáculo, fazem bifurcar os caminhos de uma companhia teatral.

Resumen Las condiciones de generación de conocimiento se modifican en un contexto de transdisciplinariedad creciente de la universidad. Desde el grupo de investigación/cuerpo académico “Investigación y creación en arte audiovisual y escénico” y el proyecto “Memoria audiovisual de mujeres jaliscienses en el cine y la danza contemporánea de la Universidad de Guadalajara” de la Universidad de Guadalajara (México), se ha apostado por el audiovisual performativo para componer un proyecto de investigación artística e investigación-creación, donde la producción en comunicación audiovisual se hibrida con otros ámbitos como los de las artes escénicas y dancísticas. En el texto se describe un proceso de creación audiovisual y escénico transdisciplinar y en colaboración entre académicos de España y México, que finalizó con el estreno de la obra Memory dance (GDL 925).

Abstract The conditions for the generation of knowledge are modified in a context of increasing transdisciplinarity in the university. From the research group/academic team "Research and creation in audiovisual and stage art" and the project "Audiovisual memory of Jalisco women in contemporary cinema and dance at the University of Guadalajara", of the University of Guadalajara (Mexico) has chosen performative audiovisual, to compose an artistic research and research-creation project, where production in audiovisual communication is hybridized with other fields such as performing arts and dance. The text describes a transdisciplinary audiovisual and stage creation process in collaboration between academics from Spain and Mexico, which ended with the premiere of the work Memory dance (GDL 925).