Examinando por Materia "Figura humana en el arte"
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- PublicaciónAcceso abiertoCarácter estético-artístico-político de las movilizaciones sociales en Medellín Colombia: arte y cuerpos en performáticas(2021) Eusse Bolívar, Laura Andrea; Castrillón Baquero, Jolyn ElenaThis research project was conducted with the necessity of understanding the diverse aesthetic-artistic-political character of social mobilizations expressed mainly in marches, protests, streets takeovers and performances. All this considering the context of disagreement and social unrest in the city of Medellin - Colombia in a timeline that encompasses the years 2019, 2020 and 2021 respectively. For such purposes, it was chosen a qualitative research methodology with a phenomenological-hermeneutical approach, trying to comprehend some experiences, life-situations, sensations, feelings and emotional states that arise in social mobilizations in an aesthetic-artistic-political field. It is shown that the body allows the experience of the sensible, being crucial in the ideation, creation and performance of the artistic expression, in addition to inhabiting characteristic realities of the socio-historical-cultural moment to which it belongs. We identify those artists deconstruct various realities, everyday elements, symbolic and non-symbolic elements and reconstruct them, providing a new experience with a high degree of emotional, visceral and physiological impact.
- PublicaciónAcceso abiertoEl cuerpo en los lenguajes expresivos como acontecimiento transformador de sí(2016) Monsalve Monsalve, Nataly; Ospina Álvarez, TeresitaIn this paper the body in the expressive languages as a self-transformation event, is configured from an experiential investigation, where the body is the central axis. Initially the interaction of the students with the body was observed, and then came the need to observe the own body (teacher apprentice) and how transformations are possible from the art and its languages. This investigative work it is divides into five parts: justification, contextualization of the experience, methodology, problematization and proposal, conclusions and contribution, all of them will be develop in the coming pages.-- Línea de Investigación: educación artística, cultural y patrimonio.-- Área: educación.-- Tema: los lenguajes expresivos como acontecimiento transformador de sí
- PublicaciónAcceso abiertoCuerpos en movimiento: un performance dancístico Arché, el origen de una subjetividad danzante(2017) Viera Romaña, Yareiza; Hernández González, Edilberto de JesúsAbstract The dance is a language that he communicates across anatomical movements, a speech stuffed with gestures, commotions and emotions, the function of this one is to express what happens in the interior, and for this motive it might be call a dance, to the vital processes that happen inside the human body, such as the breathing, the gaseous exchange, the million river-beds Vibrant to the step of the carbono and oxygen, as the movements of the heart, with the blood, the liquid that dances in all the tracks understood as systems of the human body, also the contractions that our anal cavity realizes at the moment of a gas goes out, imagines, your muscles in an integral movement to give step to the alone one of the dancer, who will invade the whole scene, and as these examples immensities exist in our interior, it is necessary to affirm that we are a creation dancer for nature. The expressionism dancístico re-turns the pre-established conformity, which registers in the form ferociously and rarety, is the sharp thing, torn. His topics are: the dementia, the reproduction, the representation of the double, the ferocity, erotic and basic, the panic, a grimace without modesty, the commotion of the great city, the death. The most significant thing is the aspect of the things they ensue from the feelings, the added to the reality of the personal expression; the technology is important in dance, to be able to report clearly from the expression. Wigman (1913) perceived the dance as a situation and a purification of the espirito. Coffee Müller: Pina Bausch-Cafe Müller (1978), his putting is loaded with melancholy of the non-existent thing, an unoccupied place, by a helpless body. Nobody: not Body, in coproduction with Festival d'Avignon, Schaubühne am Lehniner Platz Berlin of the German choreographer Sasha Waltz (2002), sample of an investigation on the human body, the movement and his material essence, all this.
- PublicaciónAcceso abiertoMi cuerpo como territorio de preguntas Institución Educativa Nuevo Latir(2018) Loaiza Mejía, Gildardo; Ospina Álvarez, TeresitaThere are few researches that seek to understand the relationship of the thinking, acting and sentient body, starting from the narrative experiences, as is the case of this research on the body and its possibilities, seeking to enhance each dimension of the human being. When you talk about yourself is something difficult, that is why it is worth highlighting, that in this writing you will find situations where paradigms are broken, possibilities of expression of feelings are discovered, to lighten the soul and above all reencounter with itself. Then, within a theoretical research framework about the artistic body and its possibilities, from a pedagogical perspective we could say that the artistic passion anchored to the experiences, changes and transformations of the stages of the development of man, it is important to resignify defining moments of life , so that the knowledge is emergent from the own experience. The dance with its humanizing role, plays an important role in this research work, as a communicating conduit, to bring out feelings that can correct the soul and thus have tranquility and inner peace. Our body always has something to tell and shouts a thousand winds its desire for continuous exploration, to be heard and enhance everything it can provide, it is there, where the sense of the body, acquires an infinite value in the evolution of thought and existence human