"A Long Season of Altitude". Intersections between Theatre and Photography
If we think about the best known formats of theatre books, we can quickly identify two types: on the one hand, books of dramatic literature; on the other, books of theatre history and/or theory. In recent years, however, an important set of theatre publications aim to expand both formats in at least...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2019
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6519 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=6519_oai |
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I28-R145-6519_oai2025-11-17 Pinta, María Fernanda 2019-03-02 If we think about the best known formats of theatre books, we can quickly identify two types: on the one hand, books of dramatic literature; on the other, books of theatre history and/or theory. In recent years, however, an important set of theatre publications aim to expand both formats in at least two directions. First, publications that gather traces of staging experiences and unpublished texts. The book is, this way, transformed into an archive that, in turn, evidences the fundamental role of reconstruction within theatre history. Second, publications that, on the basis of a theatrical performance, produce another artifact: in this case, not an archive of what was produced (text or staging), but a device that enables multiple forms of writing and diverse uses of images. Thus, the book expands the range of action of the original performances and inscribes itself in a larger artistic project. It is the case of Yo tenía un alma buena (fragmentos de un discurso mutilado) [I Used to Have a Good Soul (Fragments of a Mutilated Discourse)] by Maricel Álvarez, published by Fundación Osde in 2015. I propose to study this case by focusing on the particular relations between theatre and photography and, based on this, to reflect upon an intermedial activity in line with contemporary practices and theatre studies that expand and renew the field. Si pensamos en los formatos más conocidos del libro de teatro se nos figuran rápidamente dos tipos: libros de literatura dramática por un lado, y libros de historia y/o teoría teatral por otro. En los últimos años, sin embargo, un importante conjunto de publicaciones de teatro apunta a ampliar ambos formatos en, al menos, dos direcciones. En primer lugar, publicaciones que se proponen reunir experiencias de puesta en escena y textos inéditos. El libro se transforma, de este modo, en un archivo que exhibe, a su vez, las labores de la historia del teatro en su trabajo reconstructivo. En segundo lugar, publicaciones que parten de un espectáculo para producir otro artefacto, ya no un archivo de lo producido (texto o puesta en escena), sino un dispositivo que habilitan escrituras múltiples y usos diversos de la imagen. Así, el libro expande el radio de acción del espectáculo que le dio origen para incluirse en un proyecto artístico más amplio. Es el caso de Yo tenía un alma buena (fragmento de un discurso mutilado), libro de Maricel Álvarez publicado por Fundación Osde en 2015. Propongo estudiar este caso focalizando en las relaciones particulares entre teatro y fotografía y, a partir de allí, reflexionar acerca de una actividad intermedial en la línea con prácticas y estudios teatrales contemporáneos que amplían y renuevan el campo. application/pdf https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6519 10.34096/tdf.n29.6519 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6519/5749 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 29 (2019); 121-129 1669-6301 book contemporary theatre photography intermediality Álvarez Yo tenía un alma buena (fragmento de un discurso mutilado) libro teatro contemporáneo fotografía intermedialidad Álvarez Yo tenía un alma buena (fragmento de un discurso mutilado) "A Long Season of Altitude". Intersections between Theatre and Photography "Una larga temporada de alturas". Intersecciones del teatro y la fotografía info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=6519_oai |
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Universidad de Buenos Aires |
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book contemporary theatre photography intermediality Álvarez Yo tenía un alma buena (fragmento de un discurso mutilado) libro teatro contemporáneo fotografía intermedialidad Álvarez Yo tenía un alma buena (fragmento de un discurso mutilado) |
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book contemporary theatre photography intermediality Álvarez Yo tenía un alma buena (fragmento de un discurso mutilado) libro teatro contemporáneo fotografía intermedialidad Álvarez Yo tenía un alma buena (fragmento de un discurso mutilado) Pinta, María Fernanda "A Long Season of Altitude". Intersections between Theatre and Photography |
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book contemporary theatre photography intermediality Álvarez Yo tenía un alma buena (fragmento de un discurso mutilado) libro teatro contemporáneo fotografía intermedialidad Álvarez Yo tenía un alma buena (fragmento de un discurso mutilado) |
| description |
If we think about the best known formats of theatre books, we can quickly identify two types: on the one hand, books of dramatic literature; on the other, books of theatre history and/or theory. In recent years, however, an important set of theatre publications aim to expand both formats in at least two directions. First, publications that gather traces of staging experiences and unpublished texts. The book is, this way, transformed into an archive that, in turn, evidences the fundamental role of reconstruction within theatre history. Second, publications that, on the basis of a theatrical performance, produce another artifact: in this case, not an archive of what was produced (text or staging), but a device that enables multiple forms of writing and diverse uses of images. Thus, the book expands the range of action of the original performances and inscribes itself in a larger artistic project. It is the case of Yo tenía un alma buena (fragmentos de un discurso mutilado) [I Used to Have a Good Soul (Fragments of a Mutilated Discourse)] by Maricel Álvarez, published by Fundación Osde in 2015. I propose to study this case by focusing on the particular relations between theatre and photography and, based on this, to reflect upon an intermedial activity in line with contemporary practices and theatre studies that expand and renew the field. |
| format |
Artículo publishedVersion |
| author |
Pinta, María Fernanda |
| author_facet |
Pinta, María Fernanda |
| author_sort |
Pinta, María Fernanda |
| title |
"A Long Season of Altitude". Intersections between Theatre and Photography |
| title_short |
"A Long Season of Altitude". Intersections between Theatre and Photography |
| title_full |
"A Long Season of Altitude". Intersections between Theatre and Photography |
| title_fullStr |
"A Long Season of Altitude". Intersections between Theatre and Photography |
| title_full_unstemmed |
"A Long Season of Altitude". Intersections between Theatre and Photography |
| title_sort |
"a long season of altitude". intersections between theatre and photography |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2019 |
| url |
https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6519 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=6519_oai |
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