El teatro espontáneo y sus elementos decoloniales en la extensión universitaria. La experiencia de trabajo de Triqui-Traque : una compañía de teatro espontáneo
Fecha
2021
Autores
Rodríguez Víquez, Francisco Javier
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Editor
Universidad Nacional, Costa Rica
Resumen
El teatro de la espontaneidad es una creación de Jacob Lev Moreno, que surgió en 1921 y cuyas
características que lo diferenciaban del teatro tradicional era la representación espontánea y sin guion de
las escenas cotidianas de personas y comunidades. Esta metodología de trabajo es seguida por Jonathan
Fox, quien, en 1975, retoma los planteamientos de Moreno para crear el teatro playback. Es esta la forma
como este movimiento teatral llega a América. Luego, por el acercamiento que tuvo María Elena
Garavelli en los años ochenta a la metodología, se terminó adaptando y conociendo como teatro
espontáneo (TE) en Latinoamérica.
De esta manera, el TE retoma una serie de características como fundamento teórico y
epistemológico de ideas de autores como Fals Borda, Augusto Boal, Paulo Freire y otras personas
latinoamericanas que la convierten en una metodología. Dichos fundamentos se consideran en esta tesis
porque también concuerdan con los planteamientos de Universidad necesaria con los que se fundamenta
la Universidad Nacional de Costa Rica.
El TE llega a Costa Rica y Diego León-Páez lo adapta para el trabajo dentro de la Universidad
Nacional de Costa Rica. Así, crea el programa integrado de investigación-extensión-docencia
denominado Estrechando Vínculos: Psicodrama y Teatro Espontáneo como Metodologías para la
Transformación y el Encuentro.
The theater of spontaneity is a creation of Jacob Lev Moreno, which emerged in 1921 and whose characteristics that differentiated it from traditional theater was the spontaneous and unscripted representation of a play without a script. characteristics that differentiated it from traditional theater was the spontaneous and unscripted representation of everyday scenes of people and communities. scenes of everyday life of individuals and communities. This work methodology was followed by Jonathan Fox, who, in 1975 Fox, who, in 1975, took up Moreno's approaches to create playback theater. This is the way this theatrical movement arrived in America. Later, due to the approach of María Elena Garavelli in the eighties. Garavelli in the eighties to the methodology, it ended up being adapted and known as spontaneous theater (TE) in Latin America. spontaneous theater (TE) in Latin America. In this way, ET takes up a series of characteristics as a theoretical and epistemological foundation of ideas of authors such as epistemological foundation of the ideas of authors such as Fals Borda, Augusto Boal, Paulo Freire and other Latin American Latin American people that turn it into a methodology. These foundations are considered in this thesis because they are also in agreement with the necessary University approaches on which the National University of Costa Rica is based. The National University of Costa Rica. TE arrives in Costa Rica and Diego León-Páez adapts it to work within the National University of Costa Rica. National University of Costa Rica. Thus, he created the integrated research-extension-teaching program called Tightening Ties: Psychodrama and Spontaneous Theater as Methodologies for Transformation and Encounter.
The theater of spontaneity is a creation of Jacob Lev Moreno, which emerged in 1921 and whose characteristics that differentiated it from traditional theater was the spontaneous and unscripted representation of a play without a script. characteristics that differentiated it from traditional theater was the spontaneous and unscripted representation of everyday scenes of people and communities. scenes of everyday life of individuals and communities. This work methodology was followed by Jonathan Fox, who, in 1975 Fox, who, in 1975, took up Moreno's approaches to create playback theater. This is the way this theatrical movement arrived in America. Later, due to the approach of María Elena Garavelli in the eighties. Garavelli in the eighties to the methodology, it ended up being adapted and known as spontaneous theater (TE) in Latin America. spontaneous theater (TE) in Latin America. In this way, ET takes up a series of characteristics as a theoretical and epistemological foundation of ideas of authors such as epistemological foundation of the ideas of authors such as Fals Borda, Augusto Boal, Paulo Freire and other Latin American Latin American people that turn it into a methodology. These foundations are considered in this thesis because they are also in agreement with the necessary University approaches on which the National University of Costa Rica is based. The National University of Costa Rica. TE arrives in Costa Rica and Diego León-Páez adapts it to work within the National University of Costa Rica. National University of Costa Rica. Thus, he created the integrated research-extension-teaching program called Tightening Ties: Psychodrama and Spontaneous Theater as Methodologies for Transformation and Encounter.
Descripción
Palabras clave
TEATRO, PENSAMIENTO CRÍTICO, SIGLO XX, SIGLO XXI, EXTENSIÓN UNIVERSITARIA, THEATER, CRITICAL THINKING, CENTURY XX, CENTURY XXI, UNIVERSITY EXTENSION