Group Theater in Colombia Part II: Through the villages of the Andes
##plugins.themes.bootstrap3.article.details##
The article continues the systematization of the material collected in field research conducted by the author with Colombian theater groups, with the aim of investigating their mode of production and creation. The study, conceived and prepared remotely, had its first research questions and hypotheses published by Urdimento magazine in 2022. The text we now present begins with a comparative analysis of the thematic and methodological field of the shows that were staged in February and March 2022 in the cities of Bogotá and Medellín. Next, the Tespys Theater, based in the city of El Carmen de Viboral, 50 kilometers from Medellín, is addressed. In addition to direct observation, interviews, consultation of the group’s collection and virtual pages were used, with the objective of gathering information that would allow an analysis of its performance from the practices conceived and carried out by the collective. The study focuses on Tespys’ project of circulation through the villages in the interior of its region, with creative works and practices aimed at decolonization. Based on the chronicle written by Flora Quijano Upegui, a member of the group, the article identifies the conditions of production and the pedagogical procedures practiced by the group with isolated populations, most of them with a living memory of the terror experienced in the 1980s, and reflects on the notion of community theater in Brazil.
Colombian theater, mode of production, decoloniality, group theaterteatro colombiano, modo de producción, decolonialidad, teatro de grupoteatro colombiano, modo de produção, decolonialidade, teatro de grupo
Bourriaud, Nicolas. 2009. Estética Relacional. São Paulo: Martins.
Britos, Marlene Cristiane Gomes. Arte e cultura popular na América Latina: o teatro político do MST (Brasil) e o teatro comunitário do
Nuestra Gente (Colômbia). Dissertação de Mestrado. Programa de Pós-Graduação em Integração da América Latina, PROLAM/
Universidade de São Paulo, 2009.
Cortés, Raúl. Teatro Experimental Fontibón: poética, resistencia y mistério (1979-2019). Medellín, Fundación Teatro Experimental Fontibón
/ MinCultura, 2018. https://issuu.com/experimentalfontibon/docs/maqueta_libro_final_dic_7. Acesso em: 13/01/2022.
Cruz, Hugo (org). 2016. Arte e comunidade. Porto: Fundação Calouste Gulbenkian.
Giacchè, Piergiorgio. 1991. Lo spettatore participante: contributi per un’antropologia del teatro. Milano: Guerini.
Jaramillo, María Mercedes y Osorio, Betty. Teatro en Colombia. ¿Qué papel le asigna al método de la creación colectiva en la historia
del teatro colombiano? In: Revista de Estudios Sociales n.17, fevereiro 2004.
Nogueira, Marcia Pompeo. 2007. “Tentando definir o teatro na comunidade”. Revista DAPesquisa, Centro de Artes da UDESC, 2,
4, 77-81. https://www.revistas.udesc.br/index. php/dapesquisa/
article/view/15973. Acesso em 10/12/2022.
Santos, Milton. 2013. O espaço da cidadania e outras reflexões. Brasília: Fundação Ulysses Guimarães.
Trotta, Rosyane. 2022. Grupo de teatro e teatro de grupo na Colômbia Parte I – um estudo remoto em Medellín. In: Urdimento – Revista
de Estudos em Artes Cênicas, Florianópolis, v.1, n.43, 2022.https://www.revistas.udesc.br/index.php/urdimento/article/view/21410. Acesso em: 06/11/2022.
Upegui, Flora Quijano. 2021. En el cañón del Río Melcocho: periplo anecdótico de tres días. El Carmen de Viboral. Arquivo pessoal da
autora, não publicado.
This work is licensed under a Creative Commons Attribution 4.0 International License.