Teatro XXIPub Date : 2019-09-01DOI: 10.34096/teatroxxi.n35.7062
Lía Noguera
{"title":"La vida extraordinaria. Lo que queda del día... o la literatura","authors":"Lía Noguera","doi":"10.34096/teatroxxi.n35.7062","DOIUrl":"https://doi.org/10.34096/teatroxxi.n35.7062","url":null,"abstract":"","PeriodicalId":431099,"journal":{"name":"Teatro XXI","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121159516","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}
Teatro XXIPub Date : 2019-09-01DOI: 10.34096/teatroxxi.n35.7058
Y. Leonardi
{"title":"De la legitimación a la profesionalización: los teatros vocacionales durante el primer peronismo","authors":"Y. Leonardi","doi":"10.34096/teatroxxi.n35.7058","DOIUrl":"https://doi.org/10.34096/teatroxxi.n35.7058","url":null,"abstract":"The incursion of public policies into the cultural sphere during the period 1946-1955 meant the realization of a project of great complexity where art and artistic education were promoted from different ways. One of these was formal arts education through the creation of schools and conservatories aimed at training professional artists. The other was the promotion by the State of numerous artistic experiences of a vocational or amateur nature, whose main objective was to democratize cultural content while hierarchizing popular culture. We intend to reconstruct and analyze one of these experiences, that of the vocational theatres, considering their practices, scope, objectives, and, at the same time, its connection with the previous similar artistic experiences in the country, many of them were already developed at the beginning of the twentieth century.","PeriodicalId":431099,"journal":{"name":"Teatro XXI","volume":"200 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121236381","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}
Teatro XXIPub Date : 2019-09-01DOI: 10.34096/teatroxxi.n35.7052
Olga Martha Peña Doria
{"title":"Comunismo, socialismo y anarquismo como temáticas utilizadas por tres dramaturgas feministas latinoamericanas","authors":"Olga Martha Peña Doria","doi":"10.34096/teatroxxi.n35.7052","DOIUrl":"https://doi.org/10.34096/teatroxxi.n35.7052","url":null,"abstract":"Several Latin American playwrights stood out in their theatrical writing while they were active in the ranks of the social movements in vogue, communism, socialism or anarchism,in order to dramatize the feminist struggle on stage: Luisa Capetillo, from Puerto Rico, Salvadora Medina Onrubia, from Argentina; and Concha Michel, from Mexico. This study focus on their dramatic texts, as well as their work for the benefit of the most disadvantaged in society","PeriodicalId":431099,"journal":{"name":"Teatro XXI","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123392342","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}
Teatro XXIPub Date : 2019-09-01DOI: 10.34096/teatroxxi.n35.7065
J. Sala
{"title":"Yo escribo. Vos dibujás. Las potencias de los cuerpos","authors":"J. Sala","doi":"10.34096/teatroxxi.n35.7065","DOIUrl":"https://doi.org/10.34096/teatroxxi.n35.7065","url":null,"abstract":"","PeriodicalId":431099,"journal":{"name":"Teatro XXI","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124990210","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}
Teatro XXIPub Date : 2019-09-01DOI: 10.34096/teatroxxi.n35.7055
Alicia Vera, M. Nigro
{"title":"La escenografía teatral y los sistemas de producción","authors":"Alicia Vera, M. Nigro","doi":"10.34096/teatroxxi.n35.7055","DOIUrl":"https://doi.org/10.34096/teatroxxi.n35.7055","url":null,"abstract":"La transformacion de un texto dramatico a texto espectacular es un trabajo en equipo en el que cada profesional desarrolla sus capacidades para concretar la representacion. En este proceso creativo participan el escenografo, el director y el productor. La produccion escenografica es un proceso de elaboracion, un conjunto de operaciones que se unifican bajo el concepto de produccion en el que se distinguen los siguientes pasos: Concepto-Proyecto-Diseno, Materializacion-Ejecucion, Construccion-Montaje y Circulacion. La investigacion analiza la incidencia de los sistemas de produccion en la concrecion de un proyecto de escenografia. Para esto, se han abordado los sistemas de produccion publico, privado y alternativo. Concluido el trabajo investigativo demostramos la importancia de los sistemas productivos cumpliendo las actividades programadas. Comparando los tres modelos de produccion, la asimetria en los recursos economicos y las posibilidades de circulacion, podemos sintetizar que la escenografia se encuentra afectada en todos los niveles productivos. La eficacia de la organizacion y planificacion, la dimension y la comunicacion de equipos productivos/artisticos incide en los resultados.","PeriodicalId":431099,"journal":{"name":"Teatro XXI","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114103019","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}
Teatro XXIPub Date : 2019-09-01DOI: 10.34096/teatroxxi.n35.7054
G. Radice
{"title":"¿Original y copia?: El collage y la cita en la producción teatral de Hierba Roja Teatro","authors":"G. Radice","doi":"10.34096/teatroxxi.n35.7054","DOIUrl":"https://doi.org/10.34096/teatroxxi.n35.7054","url":null,"abstract":"The purpose of this paper is to investigate the rewriting and quotation as rhetorical operations for the construction of theatrical productions in the scenic research group Hierba Roja Teatro. To meet this objective is to take as variables the concepts of mark, remainder and excess to understand the new paradigms of contemporary theater in La Plata.","PeriodicalId":431099,"journal":{"name":"Teatro XXI","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129352059","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}
Teatro XXIPub Date : 2019-09-01DOI: 10.34096/teatroxxi.n35.7074
Adriana Libonati
{"title":"Pundonor. Entrevista a Andrea Garrote","authors":"Adriana Libonati","doi":"10.34096/teatroxxi.n35.7074","DOIUrl":"https://doi.org/10.34096/teatroxxi.n35.7074","url":null,"abstract":"","PeriodicalId":431099,"journal":{"name":"Teatro XXI","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130530472","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}
Teatro XXIPub Date : 2019-09-01DOI: 10.34096/teatroxxi.n35.7069
Mariana Pensa
{"title":"Teatro XXI. El salto a la web","authors":"Mariana Pensa","doi":"10.34096/teatroxxi.n35.7069","DOIUrl":"https://doi.org/10.34096/teatroxxi.n35.7069","url":null,"abstract":"","PeriodicalId":431099,"journal":{"name":"Teatro XXI","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134082546","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}