Publication: La escenificación mexicana en la Ópera de Bellas Artes a través de sus directores (2010-2016)
Loading...
Official URL
Full text at PDC
Publication Date
2019-07-23
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
La ópera, al ser drama, está creada para ser representada y esto significa que su realización queda consumada con la puesta en escena. Pese a que grandes directores de teatro también se han dedicado a la escenificación de la ópera y han realizado importantes aportaciones, poco se ha escrito al respecto. De manera similar, quienes se han dedicado a los análisis de las puestas en escena, o a la realización de estudios semióticos en el arte dramático, no lo han planteado desde la especificidad de la escena operística. Por otra parte, los historiadores mexicanos que han investigado sobre la ópera del país, tampoco lo han hecho desde un enfoque centrado en la puesta en escena. Por estas razones consideramos pertinente el presente proyecto enfocado en la puesta en escena de los directores nacionales que han colaborado con la Ópera de Bellas Artes, la entidad operística más importante de México. El objetivo principal de esta investigación, por lo tanto, es mostrar un panorama de las puestas en escena de la Compañía Nacional de Ópera, en una selección de las obras dirigidas entre el 2010 y 2016 y por los artistas mexicanos con mayor trayectoria en la Ópera de Bellas Artes: Luis Miguel Lombana, César Piña, Sergio Vela, José Antonio Morales, Mario Espinosa, Juliana Faesler y Mauricio García Lozano. La finalidad es poder extraer conclusiones acerca de la escenificación operística en México en tres aspectos temáticos: tiempo escénico y estructura dramática musical; espacio escénico e interpretación (basados en las unidades aristotélicas de tiempo, espacio y acción)...
The opera, being drama, is created to be performed and this means that its realization/completion is achieved with the staging. Although great theater directors have also dedicated themselves to the staging of opera and have made important contributions, little has been written about it. Similarly, those who have devoted themselves to the analysis of staging, or to the carrying out of semiotic studies of the dramatic arts, none have looked at it from the specificity of the operatic stage. Moreover, Mexican historians who have researched the country’s opera, have not done so from an approach focused on staging. For these reasons, we consider this project, focusing on the staging of the national directors who have collaborated with the Opera de Bellas Artes, the most important operatic entity in Mexico, to be relevant. The main objective of this research, therefore, is to show a panorama of the National Opera Company’s staging, with a selection of works directed between 2010 and 2016 and by Mexican artists with the greatest experience in the Opera de Bellas Artes: Luis Miguel Lombana, César Piña, Sergio Vela, José Antonio Morales, Mario Espinosa, Juliana Faesler and Mauricio García Lozano. The purpose is to be able to draw conclusions about operatic staging in Mexico in three thematic aspects: scenic time and dramatic musical structure; scenic space and interpretation (based on the Aristotelian units of time, place and action)...
The opera, being drama, is created to be performed and this means that its realization/completion is achieved with the staging. Although great theater directors have also dedicated themselves to the staging of opera and have made important contributions, little has been written about it. Similarly, those who have devoted themselves to the analysis of staging, or to the carrying out of semiotic studies of the dramatic arts, none have looked at it from the specificity of the operatic stage. Moreover, Mexican historians who have researched the country’s opera, have not done so from an approach focused on staging. For these reasons, we consider this project, focusing on the staging of the national directors who have collaborated with the Opera de Bellas Artes, the most important operatic entity in Mexico, to be relevant. The main objective of this research, therefore, is to show a panorama of the National Opera Company’s staging, with a selection of works directed between 2010 and 2016 and by Mexican artists with the greatest experience in the Opera de Bellas Artes: Luis Miguel Lombana, César Piña, Sergio Vela, José Antonio Morales, Mario Espinosa, Juliana Faesler and Mauricio García Lozano. The purpose is to be able to draw conclusions about operatic staging in Mexico in three thematic aspects: scenic time and dramatic musical structure; scenic space and interpretation (based on the Aristotelian units of time, place and action)...
Description
Tesis de la Universidad Complutense de Madrid, Facultad de Filología, leída el 03/12/2018