The actress as a bridge between the past and the present: poeticizing one's own life experience
The actress starts from her own subjectivity to create and the condition of artist is intimately linked to the exteriorization of that personal universe (thoughts, ideas, sensations, emotions, etc.). Even if the actress/artist explicitly proposed not to return to her personal universe, it would alwa...
Guardado en:
| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Editorial de la Facultad de Artes de la Universidad Nacional de Córdoba
2019
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/sendas/article/view/26405 |
| Aporte de: |
| id |
I10-R309-article-26405 |
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ojs |
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Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-309 |
| container_title_str |
Sendas |
| language |
Español |
| format |
Artículo revista |
| topic |
Fiction biography reality Autoficción biodrama realidad |
| spellingShingle |
Fiction biography reality Autoficción biodrama realidad Barrionuevo , Andrea Villarreal, Rosario The actress as a bridge between the past and the present: poeticizing one's own life experience |
| topic_facet |
Fiction biography reality Autoficción biodrama realidad |
| author |
Barrionuevo , Andrea Villarreal, Rosario |
| author_facet |
Barrionuevo , Andrea Villarreal, Rosario |
| author_sort |
Barrionuevo , Andrea |
| title |
The actress as a bridge between the past and the present: poeticizing one's own life experience |
| title_short |
The actress as a bridge between the past and the present: poeticizing one's own life experience |
| title_full |
The actress as a bridge between the past and the present: poeticizing one's own life experience |
| title_fullStr |
The actress as a bridge between the past and the present: poeticizing one's own life experience |
| title_full_unstemmed |
The actress as a bridge between the past and the present: poeticizing one's own life experience |
| title_sort |
actress as a bridge between the past and the present: poeticizing one's own life experience |
| description |
The actress starts from her own subjectivity to create and the condition of artist is intimately linked to the exteriorization of that personal universe (thoughts, ideas, sensations, emotions, etc.). Even if the actress/artist explicitly proposed not to return to her personal universe, it would always appear in some kind of implicit expression, i.e. the first impulse that will later give rise to the staging. We are talking about the pure and exclusive work of the actress, since for the accomplishment of this investigation all the members of the team were women. In this exploration, we worked with dynamics of acting training based on the conscious recovery of memories and life experiences of the actresses and the director, becoming the raw material to produce the work. In terms of Sergio Blanco "we all have something important to tell, we only have to make it poetic so that it is attractive", resulting in "a cocktail between reality and fiction". We investigate the possibilities of transformation, poetization and metaphorization of a real-life experience. There are many denominations that account for ways of producing theatre based on biography: biodrama and autofiction are some of those that are currently booming. But there is little theoretical production that accounts for the strategies of acting training and the construction of dramaturgy in these theatrical lines. The Argentine researcher Pamela Browel, who studies the theatre of Vivi Tellas, precursor of the work on biodrama, coining the term herself, approaches this objective. Director Lola Arias is also coming. On the other hand, Sergio Blanco, Uruguayan playwright, takes up again the work on biography, but heading towards autofiction, which was the main axis of this production. PAGANAS is the name of the play, which was the result of two years of research. |
| publisher |
Editorial de la Facultad de Artes de la Universidad Nacional de Córdoba |
| publishDate |
2019 |
| url |
https://revistas.unc.edu.ar/index.php/sendas/article/view/26405 |
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2024-09-03T20:28:07Z |
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I10-R309-article-264052024-03-27T14:44:48Z The actress as a bridge between the past and the present: poeticizing one's own life experience La actriz como puente entre el pasado y el presente: poetización de la propia experiencia de vida Barrionuevo , Andrea Villarreal, Rosario Fiction biography reality Autoficción biodrama realidad The actress starts from her own subjectivity to create and the condition of artist is intimately linked to the exteriorization of that personal universe (thoughts, ideas, sensations, emotions, etc.). Even if the actress/artist explicitly proposed not to return to her personal universe, it would always appear in some kind of implicit expression, i.e. the first impulse that will later give rise to the staging. We are talking about the pure and exclusive work of the actress, since for the accomplishment of this investigation all the members of the team were women. In this exploration, we worked with dynamics of acting training based on the conscious recovery of memories and life experiences of the actresses and the director, becoming the raw material to produce the work. In terms of Sergio Blanco "we all have something important to tell, we only have to make it poetic so that it is attractive", resulting in "a cocktail between reality and fiction". We investigate the possibilities of transformation, poetization and metaphorization of a real-life experience. There are many denominations that account for ways of producing theatre based on biography: biodrama and autofiction are some of those that are currently booming. But there is little theoretical production that accounts for the strategies of acting training and the construction of dramaturgy in these theatrical lines. The Argentine researcher Pamela Browel, who studies the theatre of Vivi Tellas, precursor of the work on biodrama, coining the term herself, approaches this objective. Director Lola Arias is also coming. On the other hand, Sergio Blanco, Uruguayan playwright, takes up again the work on biography, but heading towards autofiction, which was the main axis of this production. PAGANAS is the name of the play, which was the result of two years of research. La actriz parte de su propia subjetividad para crear y la condición de artista está íntimamente ligada a la exteriorización de ese universo personal (pensamientos, ideas, sensaciones, emociones, etc.). Por más que la actriz/artista se propusiera explícitamente no retomar su universo personal, éste siempre aparecería en algún tipo de expresión implícita, es decir el primer impulso que dará origen luego a la puesta en escena. Hablamos del trabajo pura y exclusivamente de la actriz, ya que para la realización de esta investigación todas las integrantes del equipo fueron mujeres.En esta exploración se trabajó con dinámicas de entrenamiento actoral basadas en la recuperación consciente de recuerdos y experiencias de vida de las actrices y la directora, transformándose en la materia prima para producir la obra. En términos de Sergio Blanco “todos tenemos algo importante que contar, sólo tenemos que lograr poetizarlo para que resulte atractivo” dando como resultado “un cóctel entre lo real y la ficción”. Indagamos en torno a las posibilidades de transformación, poetización y metaforización de una experiencia de vida real. Existen muchas denominaciones que dan cuenta de formas de producir teatro en base a lo biográfico: el biodrama y la autoficción son algunos de los que actualmente están en auge. Pero hay escasa producción teórica que dé cuenta de las estrategias de entrenamiento actoral y de construcción de dramaturgia en estas líneas teatrales. Se acerca a este objetivo la investigadora argentina Pamela Browel, quien estudia el teatro de Vivi Tellas, precursora del trabajo sobre biodrama, acuñando ella misma dicho término. Se acerca también la directora Lola Arias. Por otro lado, Sergio Blanco, dramaturgo uruguayo, retoma el trabajo sobre lo biográfico, pero encaminándose hacia la autoficción, la cual fue el eje principal de esta producción. PAGANAS, es el nombre de la obra teatral, la cual fue el resultado de dos años de investigación. Editorial de la Facultad de Artes de la Universidad Nacional de Córdoba 2019-11-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/sendas/article/view/26405 Sendas; Vol. 2 (2019): Making, thinking and writing; 101-109 Sendas; Vol. 2 (2019): Hacer, pensar y escribir; 101-109 2618-2254 spa https://revistas.unc.edu.ar/index.php/sendas/article/view/26405/28169 Derechos de autor 2019 Andrea Barrionuevo , Rosario Villarreal https://creativecommons.org/licenses/by-nc-sa/4.0 |