Spatial distance and practice of the encounter. A conversation around the hiatus in performing arts
Where does the specificity of the performing arts lie? In the unattainable of the event, in the co-presence of bodies? Without denying the enormous permeability that exists today between different artistic languages -and theater is not an exception-, the sanitary measures that are being applied, in...
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| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades. Escuela de Letras
2020
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/heterotopias/article/view/31827 |
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| Sumario: | Where does the specificity of the performing arts lie? In the unattainable of the event, in the co-presence of bodies? Without denying the enormous permeability that exists today between different artistic languages -and theater is not an exception-, the sanitary measures that are being applied, in some way, gives prominence to the question of specificity. Since March, in Argentina, theatrical performances have been on hiatus for both spectators and practitioners, because the scene is emotional contagion, it is proximity, it is reunion. What does this stop mean? Is the very existence of the theater at risk? Does the pause enable some other form of the performing arts or it means its dissolution? While we are awaiting a return to the known state of affairs, we may find ourselves in a position to configure a welcome to the unknown. In this work, spectator and performer exchange and go over questions about what performing arts is rehearsing and imagining, but also about what they are not doing and about the power that could reside there.
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