Doctora en Artes y Licenciada en Teatro por la Universidad Nacional de Córdoba. Actualmente, es becaria postdoctoral del Consejo Nacional de Investigaciones Científicas y Técnicas de Argentina y su tesis se tituló “Concepciones de dirección en prácticas contemporáneas del teatro independiente de Córdoba”. Anteriormente, obtuvo varias becas de investigación de la Universidad Nacional de Córdoba y del Instituto Nacional del Teatro. Ha participado en diversos congresos y publicado en revistas específicas nacionales e internacionales. Es docente de la Universidad Provincial de Córdoba en la Licenciatura en Arte y Gestión Cultural, el Profesorado de Teatro y la Licenciatura en Composición Coreográfica. Ha sido coordinadora del Programa Apoyo al Egreso de la Facultad de Artes de la UNC. Como dramaturga y directora de Lo Culinario Teatro estrenó "Bucear sin Agua. versión libre de textos producidos en la cárcel de mujeres de Bouwer" (2021), "Ypacaraí" (2017), "Negramarga" (2015), y "Reverso. Una historia de amor desde el ojo del verdulero" (2014).
Supervisors: Ximena Triquell and Jorge Dubatti
Supervisors: Ximena Triquell and Jorge Dubatti
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Papers by Fwala-lo Marin
// This paper makes a historiographical study of the direction role. Our perspective values territorial contagion, and cultural processes of mediation and transmission of knowledge, scenic practices, actions on the social world, modes of group organization, and theatre traditions. Our approach starts on the origin of the direction role in Europe – with the beginning of mise en scène as an autonomous art –, at the end of 19th century, and concludes on Buenos Aires coasts. There, in 1930, the modern theatre tradition was adopted and transformed, giving rise to the Independent Theatre movement. Afterwards, we analyze the historical studies of Córdoba, the “ciudad de fronteras” (“multi-border city”), encompassing from 19th century to the pre-dictatorship period. Our contribution builds bridges among the recent past – before the civic and military coup d'état –, the post-dictatorship past – corresponding to the Democratic Opening, and the 21st contemporary theatre.
/ This paper shows a theoretical perspective for the study of theatre direction. Our premise is to consider not only the staging approach, but also the direction role as a process and as an integral part of a creative group. We think about direction linked to partition of the sensible in the context of the Independent Theatre of Cordoba, Argentine. We expect to advance towards the specificity of the role, which, according to us, is constructed by the articulation between aesthetics and politics. We think of the role by its interaction with collective identities and counterhegemonic practices and we analyze its legitimate definition. Our approach is based on the study of contemporary directing experiences.
/ Apresentamos uma perspectiva teórica para o estudo da direção teatral. Nossa premissa é considerar não somente a encenação, mas também a função em processo e como parte de um coletivo. Refletimos sobre a direção e a partilha do sensível no contexto do teatro independente na cidade de Córdoba, Argentina. A proposta é avançar em direção à especificidade desta função que, como consideramos, se constrói na articulação entre estética e política. Pensamos na sua incidência sobre as identidades coletivas, as práticas contra hegemônicas e analisamos sua legítima definição. Nosso trabalho é um aporte teórico embasado no estudo de experiências contemporâneas de direção teatral.
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We problematize gender inequalities surrounding independent theater awards in Córdoba (Argentina) to understand the logic of recognition in an asym-metric world of art. To this end, we theoretically review the criteria of distinction from a gender perspective, considering aesthetic and extra-aesthetic aspects of the works, as well as the notion of genius, historically associated with the role of direc-tion. We also analyze the recognition and self-recognition of women and dissidence in directorial roles. We then examine public and private spheres as organizers of theatrical practices. We examine the case of the Provincial Theater Awards. We in-clude statistical data, systematize the repercussions of the 2019 edition and compare positions on possible affirmative or transformative solutions regarding the injustices involved in recognition.