http://rid.unrn.edu.ar:8080/handle/20.500.12049/461 Tue, 07 Apr 2026 04:27:57 GMT 2026-04-07T04:27:57Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13434 Título: Teatro, forjador de personalidad. La enseñanza del teatro en la escuela primaria para las competencias en el orden comunicativo. emocional y social. Autor(es): Díaz, María Nazareth Abstract: The theater at school is an auspicious environment for the students overall development. The importance of this dedicated time lies in that student’s emotional education is possible through it, including development of communicative and social skills. To provide it opens doors to the educational innovation so necessary in current times: innovating by offering quality spaces, where the student can discover himself and his schoolfellows. Tue, 18 Aug 2020 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13434 2020-08-18T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/13431 Título: Cuerpo, experiencia y performance actoral como vías de conocimiento. Autor(es): Dreidemie, Mónica Abstract: The research presented here aims to legitimize the value of practice in the performing arts as a means of knowledge. To this end, it draws on theoretical foundations from various disciplinary fields that concur in identifying the body, experience, and performance practice as paths to experiential, enactive, and situated knowledge—that is, knowledge acquired in relationship, in a framework. The concern that motivated this research is strongly linked to the author's professional experience as an actress and dancer. Taking these practices as a starting point was a methodological decision. From a perspective of contemporary theater, which embraces methodological procedures of actor-driven dramaturgy, one can consider acting as a form of knowledge. We are speaking of a theater where the actor's corporeality is their very identity, where the actor identifies themselves in the materiality and phenomenon of the stage, and where the sense of truth lies in their existence itself and in the execution of the act, not in previously conceived ideas. We are talking about a theater situated at the level of experience and event, which embraces improvisation as a working methodology for an actor who positions himself as a creator, not a performer. In this theater, the action performed by the actor/actress is thought. Based on this premise, it could be said that cognition is the process of knowledge in action. Acting is doing, acting is thinking, and acting is knowing in relation to others within a system that constitutes itself and refers to itself, that becomes and transforms, that performs. Wed, 01 Jan 2020 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/13431 2020-01-01T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/7339 Título: Estrategias formativas para la producción teatral en contexto de desmanicomialización. El caso de Guille en El Brote Autor(es): Otero, Gabriela Abstract: In the present work I seek to describe the strategy assumed together with one of the actresses of El Brote, whom I will call Guille, as part of her acting training and as part, also, of the group's dramaturgy. Thu, 01 Aug 2019 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/7339 2019-08-01T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/6164 Título: Muégano Teatro, un Territorio posible Autor(es): Paredes, Irma Mabel Abstract: Theatre and Identity as foundation stones for a group work that brings life itself onto the scene. Descripción: Muégano Teatro, Ecuador. Sun, 01 Sep 2019 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/6164 2019-09-01T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/6121 Título: Cuerpo, experiencia y performance actoral como vías de conocimiento Autor(es): Dreidemie, Mónica Abstract: The research presented here aims to legitimate the value of practice in the performing arts as a means of knowledge. To do this, it relies on theoretical foundations from different disciplinary fields that agree on pointing to the body, experience and performative practice as a mode of experiential, enactive and situated knowledge, that is, knowledge acquired in relation, in a framework. This involves non-verbal communication, empathy and intersubjectivity. In dialogue with embodied cognitive science, the thesis analyses the problems of contemporary theater theory and the implications of the cognitive turn in the production of the performing arts. Thu, 01 Oct 2020 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/6121 2020-10-01T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/4467 Título: El trabajo sobre las emociones del actor en la obra de Stanislavski y sus posibles vinculaciones con los aportes de Antonio Damasio Autor(es): Alonso, Sol Tue, 03 Mar 2020 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/4467 2020-03-03T00:00:00Z http://rid.unrn.edu.ar:8080/handle/20.500.12049/481 Título: Aportes de la formación del habla (Sprachgestaltung) al entrenamiento del actor. Autor(es): Montello, Flavia Abstract: The Speech Formation (Sprachgestaltung), also known in Spain as Art of the Word, delves into the expressive spoken voice through sensitivity to the sounds of language, through the intensification of listening. He also works with the rhythms and the expressive dynamics of breathing. The basic tools of the expressive voice (articulation, projection, fluency, support, tone) is worked from the perspective of the image and sensitive perception, avoiding the mechanicity that occurs when the support is exclusively in the organs. Always the approach considers the integration of the body and vocal production, understanding that as support and origin of the intention of the voice. Descripción: La Formación del Habla (Sprachgestaltung), también conocida en España como Arte de la Palabra, profundiza en la voz hablada expresiva mediante la sensibilidad respecto a los sonidos del lenguaje, a través de la intensificación de la escucha. A demás trabaja con los ritmos y con las dinámicas expresivas de la respiración. Las herramientas básicas de la voz expresiva (articulación, proyección, fluidez, apoyo, tono) se trabaja desde la perspectiva de la imagen y la percepción sensible, evitando la mecanicidad que se produce cuando el apoyo está exclusivamente en los órganos. Siempre el abordaje considera la integración del cuerpo y producción vocal, entendiendo aquel como sostén y origen de la intención de la voz. Thu, 01 Jan 2015 00:00:00 GMT http://rid.unrn.edu.ar:8080/handle/20.500.12049/481 2015-01-01T00:00:00Z