Abstract
Nuestra investigación analiza las características definitorias de un formato teatral alternativo, surgido en Chile tras el término de la Guerra del Pacífico, paralelo al de los circuitos obreros y de sectores aristocráticos Invisibilizado en su época, sin estar sujeto a presiones comerciales, o a la observancia de la crítica, su importancia debe dimensionarse tanto en su connotación testimonial, como por su aporte a la renovación de las artes escénicas nacionales Estas se expresaron en el desarrollo de nuevas técnicas de representación y, en particular, en una profunda innovación a partir de la escenificación de lo cotidiano, sentando las bases del teatro social chileno.
Highlights
Our research analyzes the defining characteristics of a different theatrical format, which emerged in Chile after the end of the War of the Pacific, parallel to the working-class circuits and aristocratic groups
Almost imperceptible in its time, without being subject to commercial pressures or the approval of critics, it should be taken into account both in its testimonial connotation as well as its contribution to the renewal of the national performing arts. These were expressed in the display of new techniques of representation, and in a deep innovation, laying the groundwork for the subsequent development of the Chilean Social Theatre
Su estructura y objetivos asemejaban al Theâtre Libre de André Antoine en Francia (1887), o la Freie Bühne de Otto Brahm en Alemania (1889), creados como una plataforma al drama realista,[24] y a las condiciones propuestas en el Théâtre du Peuple de Romain Rolland y Maurice Pottecher, quienes, a inicios del siglo XX, se apartaron del teatro burgués, creando uno popular con argumentos basados en la experiencia
Summary
Nuestra investigación analiza las características definitorias de un formato teatral alternativo, surgido en Chile tras el término de la Guerra del Pacífico, paralelo al de los circuitos obreros y de sectores aristocráticos. Palabras clave: Crisis moral; Dramaturgia; Chile; Historia cultural. Almost imperceptible in its time, without being subject to commercial pressures or the approval of critics, it should be taken into account both in its testimonial connotation as well as its contribution to the renewal of the national performing arts. These were expressed in the display of new techniques of representation, and in a deep innovation, laying the groundwork for the subsequent development of the Chilean Social Theatre.
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