Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
The purpose of the doctoral thesis “Procedures of the Chilean contemporary theatrical text 2007-2012: fragmentation and narrativity” is to give prominence to the artistic procedures of fragmentation and narrativity as keys to understand the contemporary theatrical writing and to analyze its essentia...
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| Tipo de recurso: | tesis doctoral |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | Chile |
| OAI Identifier: | oai:repositorio.anid.cl:10533/219149 |
| Acceso en línea: | https://hdl.handle.net/10533/219149 |
| Access Level: | acceso abierto |
| Palabra clave: | Humanidades Arte (Artes, Historia del Arte, Artes Escénicas, Música) Artes de la Representación (musicología, teatro, dramaturgía) |
| Sumario: | The purpose of the doctoral thesis “Procedures of the Chilean contemporary theatrical text 2007-2012: fragmentation and narrativity” is to give prominence to the artistic procedures of fragmentation and narrativity as keys to understand the contemporary theatrical writing and to analyze its essential operations at a textual level as well as in the theatrical scene. To this end, at first instance, these artistic operations will be understood in the context of a long esthetic and dramatic tradition: the discussion will be installed on the basis of the relationship of the fundamental ideas on the dramatic and the concept of representation, using as a frame the major paradigms for understanding reality throughout significant cultural periods, such as antiquity, modernity, avant-garde and postmodernism. In adittion, the concept of theatricality will be explored to propose that the aforementioned procedures not only descend from the dramatic tradition, but also they produce strategies that intend to affect the scene. The procedures of fragmentation and narrativity will be then studied from its genealogy at the modernity and from the qualities they inherit from its background and like-minded concepts, as well as from their contextual and theatrical bases. Finally, and to extend the particular qualities of these procedures to the Chilean theatrical scene, their predominant operations will be examined in eight Chilean theatrical texts of the period 2007-2012: "H.P. (Hans Pozo)" (2007) by Luis Barrales, "Cristo" (2008) by Manuela Infante, "Mi mundo Patria" (2008) by Andrea Giadach, "Simulacro" (2008) by la ReSentida theatre company, "Porque solo tengo el cuerpo para defender este coto" (2008) by Juan Claudio Burgos, "Pedro de Valdivia: la gesta inconclusa" (2009) by Tryo Teatro Banda, "La amante fascista" (2010) by Alejandro Moreno, and "Yo, Manuel" (2012) by Cristián Ruiz. |
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