La imagen audiovisual en la obra Lo que fue y no pudo ser para reflexionar en torno a la presencia del cuerpo en escena
Date
2024-05-14
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Pontificia Universidad Católica del Perú
Abstract
La presente investigación aborda cómo la imagen es utilizada en la obra Lo Que Fue y No
Pudo Ser, la cual es resultado de mi proceso creativo del curso de Proyecto final 1 de la
carrera de Danza Contemporánea en la PUCP.
Esta obra se desarrolló durante el periodo de confinamiento por la pandemia y el único medio
en el que se podía realizar el proceso creativo fue mediante el video. En dicho punto de
partida me encontré con conflictos tanto creativos como personales, ya que me vi en la
situación de adaptar un proyecto que había sido planeado para realizarse de manera
presencial. Por esa razón el proceso creativo tuvo que ser diseñado para un resultado en
formato audiovisual y es a partir de este que me surgieron dos cuestionamientos: la
necesidad de tener un público presente en un escenario y mi línea creativa. En la búsqueda de
mi línea creativa, la autoficción cobra un peso importante puesto que es de mi interés el tener
procesos creativos desde mis vivencias para luego llevarlas a una ficción. ¿Cómo es el
proceso de creación de un artista? Aquello, originó una búsqueda de un nuevo lenguaje y el
cuestionamiento de “si es o no es danza contemporánea”. Por último, la presente
investigación también cuestiona la presencia escénica del artista, puesto que esta es entrenada
para ser aplicada en un escenario. No obstante, ¿Qué es lo que ocurre con ella cuando este
está en un video? Debido a todas aquellas interrogantes mencionadas, es que se genera la
presente investigación dentro de los códigos del video, videodanza y la autoficción.
The present investigation addresses how the image is used in the work What Was and Could Not Be, which is the result of my creative process of the Final Project Course 1 of the Contemporary Dance career at PUCP. This work was developed during the period of confinement due to the pandemic and the only medium in which the creative process could be carried out was through video. At that starting point I found both creative and personal conflicts, since I found myself in the situation of adapting a project that had been planned to be carried out in person. For this reason, the creative process had to be designed for a result in audiovisual format and it is from this that two questions arose: the need to have an audience present on stage and my creative line. In the search for my creative line, autofiction takes on an important weight since it is in my interest to have creative processes from my experiences and then turn them into a fiction. How is the process of creating an artist? That originated a search for a new language and the questioning of “whether or not it is contemporary dance”. Finally, this research also questions the stage presence of the artist, since it is trained to be applied on stage. However, what happens to her when she is in a video? Due to all those questions mentioned, it is that the present investigation is generated within the codes of video, videodance and autofiction.
The present investigation addresses how the image is used in the work What Was and Could Not Be, which is the result of my creative process of the Final Project Course 1 of the Contemporary Dance career at PUCP. This work was developed during the period of confinement due to the pandemic and the only medium in which the creative process could be carried out was through video. At that starting point I found both creative and personal conflicts, since I found myself in the situation of adapting a project that had been planned to be carried out in person. For this reason, the creative process had to be designed for a result in audiovisual format and it is from this that two questions arose: the need to have an audience present on stage and my creative line. In the search for my creative line, autofiction takes on an important weight since it is in my interest to have creative processes from my experiences and then turn them into a fiction. How is the process of creating an artist? That originated a search for a new language and the questioning of “whether or not it is contemporary dance”. Finally, this research also questions the stage presence of the artist, since it is trained to be applied on stage. However, what happens to her when she is in a video? Due to all those questions mentioned, it is that the present investigation is generated within the codes of video, videodance and autofiction.
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Imágenes, Danza, Video artístico
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