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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Detalhes bibliográficos
Autor: Duarte Loveluck, María Verónica
Formato: tesis doctoral
Estado:Versión publicada
Fecha de publicación:2018
País:Chile
OAI Identifier:oai:repositorio.anid.cl:10533/219149
Acesso em linha:https://hdl.handle.net/10533/219149
Access Level:acceso abierto
Palavra-chave:Humanidades
Arte (Artes, Historia del Arte, Artes Escénicas, Música)
Artes de la Representación (musicología, teatro, dramaturgía)
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dc.title.es_CL.fl_str_mv Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
Procedimientos del texto teatral chileno contemporáneo 2007-2012: fragmentación y narratividad
dc.title.none.fl_str_mv Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentatión and narrativity
procedimientos del texto teatral Chileno contemporáneo 2007-2012: fragmentación y narratividad
title Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
spellingShingle Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
Duarte Loveluck, María Verónica
Humanidades
Arte (Artes, Historia del Arte, Artes Escénicas, Música)
Artes de la Representación (musicología, teatro, dramaturgía)
title_short Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
title_full Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
title_fullStr Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
title_full_unstemmed Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
title_sort Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativity
dc.creator.none.fl_str_mv Duarte Loveluck, María Verónica
author Duarte Loveluck, María Verónica
author_facet Duarte Loveluck, María Verónica
author_role author
dc.contributor.advisor.none.fl_str_mv Barría Jara, Mauricio
dc.contributor.institution.es_CL.fl_str_mv UNIVERSIDAD DE CHILE
dc.subject.oecd1n.es_CL.fl_str_mv Humanidades
topic Humanidades
Arte (Artes, Historia del Arte, Artes Escénicas, Música)
Artes de la Representación (musicología, teatro, dramaturgía)
dc.subject.oecd2n.es_CL.fl_str_mv Arte (Artes, Historia del Arte, Artes Escénicas, Música)
dc.subject.oecd3n.es_CL.fl_str_mv Artes de la Representación (musicología, teatro, dramaturgía)
description 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.
publishDate 2018
dc.date.accessioned.none.fl_str_mv 2018-08-02T16:30:35Z
2022-08-18T19:23:09Z
dc.date.available.none.fl_str_mv 2018-08-02T16:30:35Z
2022-08-18T19:23:09Z
dc.date.issued.es_CL.fl_str_mv 2018
dc.date.embargo.es_CL.fl_str_mv info:eu-repo/date/embargoEnd/2021-12-31
dc.type.none.fl_str_mv Tesis Doctorado
dc.type.driver.es_CL.fl_str_mv info:eu-repo/semantics/doctoralThesis
dc.type.openaire.none.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.tesis.none.fl_str_mv Tesis
format doctoralThesis
status_str publishedVersion
dc.identifier.folio.es_CL.fl_str_mv 21110521
dc.identifier.uri.none.fl_str_mv https://hdl.handle.net/10533/219149
identifier_str_mv 21110521
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spelling UNIVERSIDAD DE CHILEDuarte Loveluck, María Verónica2018https://hdl.handle.net/10533/219149http://purl.org/coar/access_right/c_abf2Artes de la Representación (musicología, teatro, dramaturgía)Arte (Artes, Historia del Arte, Artes Escénicas, Música)HumanidadesProcedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativityBarría Jara, MauricioUNIVERSIDAD DE CHILECHILEDuarte Loveluck, María Verónica2018-08-02T16:30:35Z2022-08-18T19:23:09Z2018-08-02T16:30:35Z2022-08-18T19:23:09Zinfo:eu-repo/date/embargoEnd/2021-12-312018The 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.La tesis doctoral “Procedimientos del texto teatral chileno contemporáneo 2007-2012: fragmentación y narratividad” se propone relevar los procedimientos de fragmentación y narratividad como claves para una comprensión del fenómeno de la escritura teatral contemporánea y analizar sus operaciones primordiales tanto a nivel textual, como de la escena. Para ello, en una primera instancia, estas operaciones artísticas serán comprendidas en el contexto de una larga tradición tanto estética, como dramática: la discusión se instalará a partir de la vinculación de las ideas fundamentales de lo dramático con el concepto de representación, utilizando como marco los grandes paradigmas de comprensión de realidad a lo largo de periodos culturales significativos, como son la antigüedad, modernidad, las vanguardias y la posmodernidad. Además, se revisará el concepto de teatralidad, para proponer que dichos procedimientos no son solo herederos de la tradición dramática, sino que también son productores de estrategias que intentan afectar a la escena. Los procedimientos de fragmentación y narratividad serán luego estudiados desde su genealogía en la modernidad, tanto desde las cualidades que heredan de sus antecedentes e ideas afines, como desde sus fundamentos contextuales y teatrales. Por último, y para extender las cualidades particulares de estos procedimientos a la escena chilena, se examinarán sus operaciones primordiales en ocho textos teatrales chilenos del periodo 2007-2012: "H.P. (Hans Pozo)" (2007) de Luis Barrales, "Cristo" (2008) de Manuela Infante, "Mi mundo Patria" (2008) de Andrea Giadach, "Simulacro" (2008) de la Compañía la ReSentida, "Porque solo tengo el cuerpo para defender este coto" (2008) de Juan Claudio Burgos, "Pedro de Valdivia: la gesta inconclusa" (2009) de Tryo Teatro Banda, "La amante fascista" (2010) de Alejandro Moreno y "Yo, Manuel" (2012) de Cristián Ruiz.PFCHA-BecasLa tesis está siendo postulada a fondos para su publicación.PFCHA-Becas21110521https://hdl.handle.net/10533/219149instname: Conicytreponame: Repositorio Digital RI2.0info:eu-repo/grantAgreement//21110521info:eu-repo/semantics/dataset/hdl.handle.net/10533/93488info:eu-repo/semantics/openAccessHumanidadesArte (Artes, Historia del Arte, Artes Escénicas, Música)Artes de la Representación (musicología, teatro, dramaturgía)Procedures of the Chilean contemporary theatrical text 2007- 2012: fragmentation and narrativityProcedimientos del texto teatral chileno contemporáneo 2007-2012: fragmentación y narratividadProcedures of the Chilean contemporary theatrical text 2007- 2012: fragmentatión and narrativityprocedimientos del texto teatral Chileno contemporáneo 2007-2012: fragmentación y narratividadTesis Doctoradoinfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/publishedVersionTesisTesishttps://hdl.handle.net/10533/219149PFCHA-Becasf87691f1-647a-4611-aee0-e086d70e2522virtual::61424-1f87691f1-647a-4611-aee0-e086d70e2522virtual::61424-1LICENSElicense.txttext/plain1779https://repositorio.anid.cl/bitstreams/1857a8ec-8f54-47ba-bcbb-d93d84fa8013/download593a6e7305c66c56041a9f9e15a649c1MD51ORIGINALTesis_DEF_Veronica_Duarte.pdfProcedimientos del texto teatral chileno contemporaneo 2007-2012: fragmentacion y narratividadapplication/pdf1925313https://repositorio.anid.cl/bitstreams/beca4c32-0268-41d8-82fe-0c2a939626cf/download9bdbaf9b9ca40eb9f702373206687659MD52TEXTTesis_DEF_Veronica_Duarte.pdf.txtExtracted texttext/plain534917https://repositorio.anid.cl/bitstreams/9a0b80f2-7494-4906-b31e-c598316bc0a4/downloade53263936cca06f08a464d4d700b5eb7MD53THUMBNAILTesis_DEF_Veronica_Duarte.pdf.jpgIM Thumbnailimage/jpeg2138https://repositorio.anid.cl/bitstreams/55e2ab13-69c4-49b7-84a5-c386bd5e811c/download3956d37aa66ad5bfac9e36b6013f2685MD5410533/219149oai:repositorio.anid.cl:10533/2191492023-07-24 17:43:04.228https://repositorio.anid.clRepositorio ANIDaletelier@anid.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