http://rid.unrn.edu.ar:8080/handle/20.500.12049/184 Tue, 07 Apr 2026 02:56:07 GMT 2026-04-07T02:56:07Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13666 Título: Estudianteatrar en el ENET Autor(es): Vásquez, Bruce Abstract: This document is a record and report about the National Meeting of Theater Students (ENET), an annual event created by and for students from various universities across the country, who are self-organized and connected to theater. During the meeting, theatrical and academic activities are integrated, resulting in an experience and space for professional development and practice for the participating students. Mariano Scovenna (2020), in his article "Estudianteatrar. A proposal to understand the teaching and learning of theater as complex processes," argues that there are certain theatrical experiences in which students participate in creating learning events and theatrical events that mutually imply and enrich each other. He calls this confluence of experiences "estudianteatrar," which he defines as the "flow of activities carried out by a subject who is learning theater and, at the same time, creating theatrical events" (p. 120). The use of this term is linked to being able to understand and name in its complexity that which it designates, and implies at least the following: exploring, inquiring, experimenting, playing, practicing, designing, elaborating, building, directing, acting, debating, creating, rehearsing, producing, writing, reading, contemplating, reflecting, imagining, conceptualizing, fantasizing, communicating, expressing, resolving, acting, undertaking, hypothesizing, celebrating, sharing, negotiating, interpreting, recreating, imitating, codifying, calculating, deducing, classifying, ordering, doubting, asking, observing, listening, collaborating, attending, understanding, participating, proposing, arguing, betting, appreciating, commenting, showing, flowing, and living. (p. 121) This report, in relation to the processes mentioned above, seeks to generate an academic record that accounts for the existence of ENET and makes explicit the experience that we, who organize and participate in it, acquired in the field of cultural, academic, and artistic management; This work transcends the academic sphere, extending into the local cultural production circuits of each delegation participating in the event. To this end, records, appendices, and remaining projects from ENET activities will be used; interviews with participating students from 2010 to 2018; and records of the ENET Bariloche Commission's activities from 2023 to the present, based on my active participation and experience as a manager and organizer. The activities that comprise the event and those necessary for its planning and execution will be detailed in depth. To this end, the report will first explain what ENET is and how the theater programs of the National University of Río Negro come to participate in this event, and will delve into its activities. Secondly, the objectives and practices implemented will be explained. Finally, there will be a section of conclusions drawn from the experience of participating in and organizing the event, as well as from writing this report. The report's appendix includes photographs of the event, a certificate of the practices carried out, and a transcript of the interviews. Wed, 27 Aug 2025 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13666 2025-08-27T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13492 Título: El juego en la composición escénica. La intervención lúdica en los procedimientos de creación teatral. Autor(es): Zarri, Daniela Abstract: This research unfolds in my imagination from an impulse, its origin stemming from a genuine, captivating, creative, and inspiring experience. In theatrical work, involving body, mind, spirit, and imagination, a reflection arose on stage composition and how it can be approached, how many forms there are, how many methods, techniques, paths, styles, and categories. At that very moment, I came to the conclusion that it would be impossible to address all the paths, but perhaps it wouldn't be impossible to remember the explorations I had gone through as a person, in which I felt emotions, made decisions, expressed my creativity, managed to expand my imagination, felt independent to compose individually and in groups, and took risks. In that moment, the image appeared in my mind, along with the sensation of freedom in my body. I remembered that everything was chaos, and to find myself in that chaos, I had to make a decision, and for that, I needed courage. To break through the boundaries of convention, it is necessary to understand convention in all its aspects, because then we, as artists, will be able to recognize when we transgress the established order, supported by creativity and imagination as pillars of the compositional movement. Knowing the rules of the game gives us the possibility of being different in time, of having a different energy; but not only can we create a time and space with its own unique tendency by knowing the rules, it also allows us to overcome the obstacles that cross our path as artists. It invites us to creatively combine these rules so that we may find other paths, ways, emotions, sensations, images, and inspiration. From this reflection arises a mystery related to stage composition, the procedures of theatrical creation, the role of the actress/actor, of direction, of the dramatic work, and its connection to the world of play. Tue, 17 Jun 2025 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13492 2025-06-17T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13491 Título: Práctica profesional en iluminación y sonido aplicado a obras de teatro y teatro danza de una sala de espectáculos. Autor(es): Vera, Emanuel Javier Abstract: The internship, titled "Professional Internship in Lighting and Sound Applied to Theater and Dance Theater Works in a Performance Hall," took place at the La Llave Art School, the first free, municipal public art school. This institution celebrates its 40th anniversary this year. The Performance Hall is a space where artists and independent groups can present their work. Within this framework, I contributed to the performances performed during the internship. Wed, 03 Sep 2025 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13491 2025-09-03T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13489 Título: La propuesta escénica de Fuerza Bruta en su espectáculo Wayra. Autor(es): Silvio, Bianca Abstract: Choosing the topic for my thesis wasn't a difficult decision for me because I found in Wayra everything that challenged me as an artist. I found that aesthetic, that spectacular rhythm, and that spatial arrangement that had swirled around in my head for a long time but that I hadn't yet experienced tangibly. For years, I projected into the world of my imagination different dynamics, spaces, levels, and aesthetics that I found in Wayra. This led me to think about my journey as a student and as an artist, where through research and my desire to capture concepts and ideas in different materials, elements, effects, and machinery, I approached, and continue to build, my own stage language. I've always found it interesting to have a stage design that dialogues intimately with the actors and that interpellates with each other in such a way that both come alive on stage. The exercises were very varied, but they all led to the same place: discovering my own body, discovering my limits in order to overcome them and find new ones, experimenting with the laws of movement, breaking and creating new balances, detecting my resistances and exploring the opposing forces in my body, and my body in relation to space. The repetition of certain exercises and the use of certain techniques led me to find a threshold where technique ceased to be technique and became poetic states of the body; the exercises were no longer exercises, they were theatricality and expression in every muscle, and the fatigue provoked was no longer fatigue; it was now the driving force behind my actions. Fri, 28 Jun 2024 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13489 2024-06-28T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13488 Título: Micropolítica de la resistencia en Cardenal (o el fulbac de los sueños). Teatro como resisntencia al neoliberalismo en la Norpatagonia. Autor(es): Pariani, Victoria Abstract: It is interesting to ask ourselves how, historically, in contexts of political, social, and economic crises, theater—and art in general—has found ways to resist or denounce inequalities, as well as to imagine and offer possible futures. Based on this interest, the first category I discovered—and which would later trigger the present investigation—was the micropolitics of resistance, proposed by the artist and intellectual Eduardo Pavlovsky. The micropolitics of resistance is a key concept that runs through the author's reflections and textual productions from 1988 to 2004. It is characterized by proposing a mode of resistance to the neoliberal context that gripped Argentina at the end of the 20th century, with governments and policies that generated profound economic, social, and cultural crises. The micropolitics of resistance was studied by the Argentine historian Jorge Dubatti as part of his research for his doctoral thesis, "Eduardo Pavlovsky: Poetics and Politics," presented at the National University of Buenos Aires in 2004. This work analyzes how the micropolitics of resistance manifests itself in the creative process and premiere of Cardenal (or the fulbac of dreams), a Bariloche work premiered in 2001. This work examines the relationship between the micropolitics of resistance and the notion of territory that Dubatti proposes to contextualize the production of Cardenal (or the fulbac of dreams). This work also explores what aspects of the micropolitics of resistance analyzed by Dubatti in Rojos globos rojos can be recognized in Cardenal (or the fulbac of dreams). This work also analyzes the production process and premiere of Cardenal (or the fulbac of dreams), paying attention to the relationships and influences that territory has on it. that is created. Thu, 23 Jun 2022 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13488 2022-06-23T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13487 Título: Construcción escénica del personaje "La cocinerita" en Polixema y la cocinerita, farsa pirotécnica de Alfonsina Storni. Autor(es): Mendoza, María Eugenia Abstract: The following work addresses, in a personal and reflective manner, the process of stage construction of the character of La Cocinerita in the play Polixena y la Cocinerita, a pyrotechnic farce by Alfonsina Storni (hereafter Polixena y la Cocinerita). This work was carried out within the framework of the research and artistic creation project P.I.C.A. (Research and Artistic Creation Project), developed between 2021 and 2023 at the National University of Río Negro (UNRN). The main objective of the project was to generate a professionalizing practice that approached the dramatic text from the perspective of concrete acting training tools, fostering a comprehensive creative experience that articulates theory with practice. This report seeks to generate reflection on the results of the artistic creation process in its theoretical and practical dimensions, reporting on a research project that combines stage experience with a conceptual approach, based on my role as a student researcher and actress. Sun, 22 Jun 2025 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13487 2025-06-22T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13486 Título: Análisis del tránsito emocional actoral. Autor(es): Contuci, Martín Sebastián Abstract: The actor's body is their primary tool in the theater. This body is a conjunction of systems in constant exchange of information. It identifies "chemical and neuronal reactions that form a distinctive pattern of bodily response called emotions" (Damasio, 2007, p. 55). This research analyzes the emotional transition of performers during their acting work. It stems from an interest in questioning how human beings experience characters' emotions that are unrelated to their own everyday situations. Thu, 25 Aug 2022 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13486 2022-08-25T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/9778 Título: La Dinámica Afectiva como base de construcción técnica en la actuación. Autor(es): de Paz, Juan Andrés Abstract: The present work deals with the acting construction tools, raised in the workshops of José "Pollo" Canevaro (Corrientes, 06/16/1964) and Federico Aimetta (La Plata) and in the searches that are carried out in Área Chica, theater room Founded in March 2012 in the city of La Plata. In addition, the study focuses on the development of the workshop from 2017 to 2019. The value of the Affective Dynamics technique in theater is analyzed, the variables that are modified according to the emotional process and the tools they propose to achieve the goal. main objective of this training, which is the construction of verisimilitude in acting. The concept of verisimilitude is understood as what is credible within a stage system or language, whatever is constructed.Palabras claves Fri, 01 Oct 2021 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/9778 2021-10-01T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/8005 Título: Cuerpos al límite : una aproximación a las obras de David Nebreda y de Orlan Autor(es): Ortiz Cuadrado, María Alejandra Abstract: This thesis focuses on two contemporary artists: the Spanish photographer David Nebreda (1952) and the French performer Orlan (1947). Both are characterized by performing works and constructing controversial poetry, which challenge the normative scripts about the body. Indeed, his works border on the teratological, the ‘rare’ and the abject, and take the body to the extreme, insubordinate to the status quo. Therefore, our goal is to analyze and show how, through a set of risky (self) intervention techniques, both Nebreda and Orlan carry out subversive artistic practices and compose aesthetics on the edge. Sat, 01 Aug 2020 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/8005 2020-08-01T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/8004 Título: El grupo teatral IVAD durante el período 1976-1983 Autor(es): Schmeisser, Agustín Leandro Abstract: The following work investigates one of the first and most important theater groups in the City of San Carlos de Bariloche, the Vuriloche Institute of Dramatic Art. More precisely, this was the second theatrical cast in the city, counting as the only antecedent a group called La Barca, which operated for approximately two years during the 1940s and of which there are almost zero records. The IVAD may also be the one with the highest artistic productivity in the Andean-Patagonian area due to its long permanence in time, operating uninterruptedly for more than three decades from until the late 1980s and then more sporadically until its dissolution, for the large number of people who made it up, and fundamentally because of the prominent role it played in the social and cultural life of the city. It worked practically throughout its history in the Sarmiento Library. He staged approximately seventy different theatrical productions. Thu, 29 Apr 2021 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/8004 2021-04-29T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/8002 Título: Teatralidad, teatro y territorio en Jorge Dubatti Autor(es): Trimmeliti, Florencia Abstract: This thesis covers part of the work of a contemporary author taking into account his reflections on theatricality. The study of a term that is so specific to the theater discipline enables theoretical debate in the performing arts. The use of the term theatricality is extended in writings on theater, but not very specific when it comes to being systematized. Through its comparative exploration, we wonder about the relationship and difference between theatricality and the theatrical phenomenon. The realization has been the use of research and comparison methods within a stable regulation. It is also interesting to investigate similarities and differences between authors in relation to the term, to think about theatricality, in order to describe and attempt to delimit or expand its use. Tue, 27 Jul 2021 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/8002 2021-07-27T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/7375 Título: El grupo teatral IVAD durante el período 1976-1983 Autor(es): Schmeisser, Agustín Leandro Abstract: This paper studies IVAD, one of the first and most important theatre groups in the Rio Negro city of San Carlos de Bariloche. The research focuses on the historical period corresponding to the last military dictatorship in Argentina –1976 to 1983– self named "National Reorganization Process" and remembered as the most atrocious and violent dictatorship in national history. Likewise, this study focuses on the theatrical productions carried out in the years of the beginning and end of the last dictatorship: on the one hand, the play Our town, premiered in 1976, and on the other hand, the staging of Crónica de un secuestro, premiered in 1983. In this way it is possible to contrast the link between each of these two works with the socio-political reality of the moment of representation, and thus observe a change in the aesthetic decisions of the group. Wed, 07 Jul 2021 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/7375 2021-07-07T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/3922 Título: El cuerpo como territorio político. La performance de Regina José Galindo Autor(es): Rosa García, Virginia Abstract: This research paper critically addresses the actions of Regina José Galindo, a contemporary Guatemalan artist, placing in the dialogue three axes that are considered indispensable and inseparable for the analysis of his work, and Latin American performance in general: body, performance and politics . Galindo is proven one of the maximum exponents of Latin American performance, and stands out for demonstrating a deep search for a genuine and own art, configuring as one of the key artistic approaches to think about acting in Latin America today. Fri, 22 Nov 2019 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/3922 2019-11-22T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/3646 Título: Teatro Pánico: lo abyecto como categoría estética Autor(es): Navarro, Bianca Abstract: This paper investigates the Panic Group, whose main references are: Fernando Arrabal, Alejandro Jodorowsky and Roland Topor. One of the objects of this research will be to recognize some concepts of Antonin Artaud, such as plague and cruelty, in the theatrical stalls of the Group. They are: the negative conception that the artist had about the bourgeois society of his time, the need to reconnect art with life and the criticism he established towards the art institution. Given this premise, another objective is to relate the idea of the grotesque body, proposed by Mijail Bakhtin in 1940. The two edges that make up this research, Panic Group and grotesque body, are closely related and result in a new perspective of art: the abject as an aesthetic category. Fri, 15 Mar 2019 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/3646 2019-03-15T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/693 Título: El uso de la voz en el teatro callejero en Bariloche. Autor(es): Pinnola, María Lemú Abstract: In the present investigation, the theme "The use of the voice in street theater in Bariloche" was developed. This topic was addressed because it is interesting to leave precedent over the voice and the use of it in street theater under the conditions offered by Bariloche. The author had the opportunity to live as an artist the different realities that the street theatrical space of Bariloche offers depending on the voice. During his academic career, he was able to explore this theatrical space on several occasions through interventions, performances with clowns, parades, marches, a combination of music and theater, among other experiences. He was able to conclude that in Bariloche, due to its characteristics, the use of the voice in the street became very particular. A strong conditioner is the climate. Considering that the characteristics and requirements of the stage space are in the scenario that the actor chose that place as a stage. Descripción: En la presente investigación se desarrolla el tema “El uso de la voz en el teatro callejero en Bariloche”. Se abordó esta temática porque resulta interesante dejar precedente sobre la voz y el uso de la misma en el teatro callejero en las condiciones que ofrece Bariloche. La autora tuvo la oportunidad de vivenciar como artista las diferentes realidades que el espacio teatral callejero de Bariloche ofrece en función de la voz. Durante su trayecto académico pudo explorar en diversas ocasiones este espacio teatral mediante intervenciones, funciones con payasos, desfiles, marchas, combinando música y teatro entre oras experiencias. Pudo concluir que en Bariloche, por sus características, se hacía muy particular el uso de la voz en la calle. Un condicionante fuerte es el clima. Considerando las características y exigencias del espacio escénico callejero se infiere que el actor que elige ese lugar como escenario precisa una preparación vocal específica y diferente de la necesaria para actuar en un teatro cerrado Sun, 01 Jan 2017 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/693 2017-01-01T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/397 Título: El Teatro como herramienta de inclusión en la escuela media. San Carlos de Bariloche, período 2013-2014 Autor(es): Núñez, Ana M. Abstract: This paper aims to analyze the inclusive role that the Teatro matter incorporated into public secondary education in San Carlos de Bariloche. Reflect on the experiences carried out in interdisciplinary workshops of Theater with students of basic cycle and a field work with young people who attend the first year in the Bachiller in Art-Theater by resolution 2074/14 of the Ministry of Education of the Province of Río Negro, analyzing the application of pedagogical instruments specific to their specific didactics in the school institution. Descripción: Este trabajo se propone analizar el papel inclusivo que podría desempeñar la materia Teatro incorporada a la enseñanza media pública en San Carlos de Bariloche. Reflexionar acerca de las experiencias llevadas a cabo en talleres interdisciplinarios de Teatro con estudiantes de ciclo básico y un trabajo de campo con jóvenes que cursan el primer cuarto año en la Modalidad Bachiller en Arte–Teatro por resolución 2074/14 del Ministerio de Educación de la Provincia de Río Negro, analizando la aplicación de instrumentos pedagógicos propios de su didáctica específica en la institución escolar. Mon, 11 May 2015 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/397 2015-05-11T00:00:00Z