Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos
Many theatrical practices call into question the traditional logic of representation. By virtue of this, we can analyze that the various visibility devices they use tend to produce what, in Rancière's terms, is called a distribution of the sensible. Starting from certain proposals of the philos...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2020
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8262 |
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I28-R267-article-8262 |
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I28-R267-article-82622020-12-20T14:50:32Z Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos Dispositivos de visibilidad en las propuestas teatrales de los grupos Kamar, Ob Caenum y Los Toritos Perrone, Nicolás Visibility Device Distribution of the Sensible Emancipation Rancière Kamar Ob-caenum Los Toritos dispositivo de visibilidad reparto de lo sensible emancipación Rancière Kamar Ob-caenum Los Toritos Many theatrical practices call into question the traditional logic of representation. By virtue of this, we can analyze that the various visibility devices they use tend to produce what, in Rancière's terms, is called a distribution of the sensible. Starting from certain proposals of the philosopher, we can consider that works of art in general establish a cut over the material and symbolic territory, establishing new relationships of space and time and of what can be shown. This gives them a clearly political character, since they produce a redistribution of the common. In this sense, art would come to function as the device that makes these visibilities possible. In this paper, we are interested in this problem in relation to the aesthetic proposals of three theatrical groups: Kamar (La Rioja), Ob-caenum (San Juan) and Los Toritos (Mendoza). The different poetics of each one contribute to the reflection on theatricality as a visibility device in ways not adjusted to the norm of mimesis and of redistribution of actor-spectator relations, proper of the theatrical event. Numerosas prácticas teatrales ponen en cuestión la lógica tradicional de la representación. En virtud de esto, podemos analizar que los diversos dispositivos de visibilidad que emplean tienden a producir lo que, en términos de Rancière, se denomina un reparto de lo sensible. A partir ciertas propuestas del filósofo, podemos considerar que las obras de arte en general establecen un recorte sobre el territorio material y simbólico, estableciendo nuevas relaciones de espacio y tiempo y de aquello que es mostrable. Esto les otorga un carácter netamente político, en la medida en que producen una redistribución de lo común. En este sentido, el arte vendría a funcionar como el dispositivo que hace posible esas visibilidades. En este trabajo, nos interesa esta problemática en relación con las propuestas estéticas de tres grupos teatrales: Kamar (La Rioja), Ob-caenum (San Juan) y Los Toritos (Mendoza). Las diversas poéticas que abordan los elencos contribuyen a la reflexión sobre la teatralidad como dispositivo de visibilidad de formas no ajustadas a la norma de la mímesis y de redistribución de las relaciones actor-espectador, constituyentes del hecho teatral. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2020-07-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8262 10.34096/tdf.n31.8262 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 31 (2020) 1669-6301 spa http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8262/7238 http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8262/7239 Derechos de autor 2020 telondefondo. Revista de Teoría y Crítica Teatral https://creativecommons.org/licenses/by-sa/4.0 |
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Universidad de Buenos Aires |
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I-28 |
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R-267 |
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telondefondo |
| language |
Español |
| format |
Artículo revista |
| topic |
Visibility Device Distribution of the Sensible Emancipation Rancière Kamar Ob-caenum Los Toritos dispositivo de visibilidad reparto de lo sensible emancipación Rancière Kamar Ob-caenum Los Toritos |
| spellingShingle |
Visibility Device Distribution of the Sensible Emancipation Rancière Kamar Ob-caenum Los Toritos dispositivo de visibilidad reparto de lo sensible emancipación Rancière Kamar Ob-caenum Los Toritos Perrone, Nicolás Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos |
| topic_facet |
Visibility Device Distribution of the Sensible Emancipation Rancière Kamar Ob-caenum Los Toritos dispositivo de visibilidad reparto de lo sensible emancipación Rancière Kamar Ob-caenum Los Toritos |
| author |
Perrone, Nicolás |
| author_facet |
Perrone, Nicolás |
| author_sort |
Perrone, Nicolás |
| title |
Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos |
| title_short |
Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos |
| title_full |
Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos |
| title_fullStr |
Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos |
| title_full_unstemmed |
Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos |
| title_sort |
visibility devices in the theatrical proposals of the groups kamar, ob caenum and los toritos |
| description |
Many theatrical practices call into question the traditional logic of representation. By virtue of this, we can analyze that the various visibility devices they use tend to produce what, in Rancière's terms, is called a distribution of the sensible. Starting from certain proposals of the philosopher, we can consider that works of art in general establish a cut over the material and symbolic territory, establishing new relationships of space and time and of what can be shown. This gives them a clearly political character, since they produce a redistribution of the common. In this sense, art would come to function as the device that makes these visibilities possible. In this paper, we are interested in this problem in relation to the aesthetic proposals of three theatrical groups: Kamar (La Rioja), Ob-caenum (San Juan) and Los Toritos (Mendoza). The different poetics of each one contribute to the reflection on theatricality as a visibility device in ways not adjusted to the norm of mimesis and of redistribution of actor-spectator relations, proper of the theatrical event. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2020 |
| url |
http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8262 |
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AT perronenicolas visibilitydevicesinthetheatricalproposalsofthegroupskamarobcaenumandlostoritos AT perronenicolas dispositivosdevisibilidadenlaspropuestasteatralesdelosgruposkamarobcaenumylostoritos |
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2023-06-27T21:34:42Z |
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2023-06-27T21:34:42Z |
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