El juego en la composición escénica. La intervención lúdica en los procedimientos de creación teatral.

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.