Papel Escena is an annual academic publication of the Performing Arts Faculty of Bellas Artes, Institución Universitaria del Valle, which aims to disseminate articles on research results in Performing Arts: acting, artistic teaching in theater and cultural dynamization, as well as articles of reflection or review that are working tools for further research in the area and that deal with issues of importance and topicality for the community.
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In this free adaptation of Rodrigo García's Notas de cocina (Kitchen Notes), and through excerpts from Dante Alighieri's Divine Comedy, a group of deceased individuals recounts how they destroyed the planet and how they consumed themselves before their demise. From their lives, they created their own hell: an overflowing consumer society, a frenzied cult of ego, and a trampling of one another as they sought to reach the “top” of the predatory circle in which everyone participated. Sometimes as humans and sometimes as beasts: centaurs.
Copyright (c) 2025 Papel Escena https://creativecommons.org/licenses/by-nc-sa/4.0
Death has taken over the city: a virus threatens to wipe out humanity, turning those who contract it into rats. Unable to find an effective cure for ratification, those in power resort to weapons as a means of controlling the spread of the virus. The deaths that haunt the city are responsible for telling the public firsthand about this great apocalypse. This version proposes ratification as a metaphor for a world on the brink of destruction, a world where human stupidity can be a weapon of mass destruction. Proyecto Piloto is a free adaptation of the play by Cali playwright Enrique Buenaventura, with texts also from Carlos Enrique Lozano's free adaptation of the same play, called Proyecto P.
Jesus is the work of Cuban playwright Virgilio Piñera. It is a theatrical farce that on this occasion has been adapted to dialogue with the contemporary aesthetics of a municipality in the south of Valle del Cauca. A lie becomes truth due to the popular psychology of the masses, making the life of an unsuspecting village hairdresser end up imitating the eventful life of the religious character “Jesus of Nazareth”. The viewer will experience a series of emotions: laughter, uncertainty and helplessness, reflecting on the power of information in contemporary society and how new forms of communication relativize reality, channeling opinion according to the interest pursued.
Copyright (c) 2024 Papel Escena https://creativecommons.org/licenses/by-nc-sa/4.0
Comparative Studies of Theatrical Expectation: new approaches to the problems of spectators
The writing of a territorialized History of Theatrical Expectation (within the framework of the Project Filo: CyT FC22-089 "Comparative History of the Spectators in Buenos Aires Theater 1901-1914") requires us to challenge ourselves to develop an epistemological positioning, theatrical theories and methodologies of innovation with specific characteristics according to the problem studied. This paper presents the main guidelines of Comparative Studies of Theatrical Expectation (CSTE), its relationship with the discipline/metadiscipline Philosophy of Theatre, Applied Phenomenology, and Participatory Research. The CSTE conceives theatrical expectation as an event: the "expectateatrar" and values the production of knowledge in Spectator Schools, designed as laboratories of (self)perception of the complexity of the "expectateatrar".
I call the Flesh the lived body, inhabited by contact with the world. More than the anatomical body, I am interested in its emotional, cultural, and carnal dimensions. In this selection of photographs, I explore themes that highlight the body's vulnerability and resistance to various violent devices. This violence against women continues to be, even today, trivialized or silenced in our societies. Carne Sub Rosa evokes that body that has been veiled, silenced, or associated with the repressed through the construction of social taboos around female sexuality and violence. With my images, I seek to unveil and expose, metaphorically, that which has been secretly kept "under the rose," that which has not been said about these experiences of the Flesh. In several pieces, the body becomes a space where the violence that many women suffer is inscribed, from symbolic and structural violence to physical and sexual violence. By exhibiting these images, I intend to question the traditional narratives that make these experiences invisible, confronting the viewer with an uncomfortable reality that urgently needs to be made visible. Another of the themes I have approached is related to female sexuality, an aspect that society has covered with taboos and silences. Through these representations, I try to dig under the rose to break those schemes, revealing a sexuality that is explored as an integral part of female identity. Finally, I delve into the intimate emotions that mark women's relationship with their bodies: shame, fear, and the struggle to reclaim emotional and physical autonomy. The body is revealed in these images as a space of contradiction, where pain and desire coexist in constant tension.
In the different issues of the magazine Papel Escena, in the section Escena en Proyección, the results of the stage creation workshops are recorded; plays from different periods and by different national and international authors, which are worked on by teachers and students, according to the academic contents during the training process in the Bachelor's Degree in Performing Arts at Bellas Artes, Institución universitaria del Valle.
In the different issues of the magazine Papel Escena, in the section Escena en Proyección, the results of the stage creation workshops are recorded; plays from different periods and by different national and international authors, which are worked on by teachers and students, according to the academic contents during the training process in the Bachelor's Degree in Performing Arts at Bellas Artes, Institución universitaria del Valle
As a result of the Creation Workshop II of the Bachelor's Degree in Performing Arts syllabus, the work is an exercise in dramaturgy and collective creation that takes marvelous tales as its starting point and encourages the structuring of stories by the students. It explores the language and conventions of popular comic theatre and clowns
This interview is the fourth in a series of conversations from Facultad de Artes Escénicas de Bellas Artes held about the city of Cali theater halls to recognize their trajectories and contributions to the development of Cali's cultural and academic sector. On this occasion, we are accompanied by Pilar Restrepo Mejía from La Máscara theater group, which this year celebrates 52 years of stage life. The headquarters and the room are located in San Antonio on Carrera 10 No. 3 – 40.
In the different issues of the journal Papel Escena, in the section Escena en Proyección, the results of the stage creation workshops are recorded; plays from different periods and by different national and international authors, which are worked on by teachers and students, according to the academic contents during the training process in the Bachelor's Degree in Performing Arts at Bellas Artes, Institución universitaria del Valle.
El maravilloso viaje de la mentira y la verdad
The play is the result of a social research conducted by Diana Carolina Mendoza and Francisco Domínguez on the migration process in the hillsides of Cali, a story that takes place in the eighties and through allegorical characters presents the deterioration of a community for having a scarce and finite resource, taking up issues such as rootedness, solidarity and inequality. The play tells the story of a pregnant woman displaced by violence who arrives at La Esperanza, an informal settlement located on the hillside of the city of Cali. After giving birth, the baby suffers from severe yellowness that causes her to glow at night. When the community discovers this, they take advantage of the light to build houses and legalize themselves, leading to an unexpected ending. From this story, the memory of our popular neighborhoods and everyday stories that have shaped our cities is recreated. It is understood as a dramatic work that allows the game, the use of proverbs and idioms of the region, the metaphor and the use of a minimal scenery, within the framework of magical realism.
Simulated Patients: An Instrument for Pedagogical Instruction and Assessment in the Faculty of Health Sciences at Universidad ICESI
Simulation is a pedagogical technique in academia that aims to emulate authentic situations. This allows learners to immerse themselves in scenarios reflective of real-world challenges. Through repeated exposure, individuals can consolidate their learning and prepare effectively for actual case scenarios, employing the insights from such simulations. In medical education, simulations have transitioned from mere didactic representations of clinical situations to intricate tools for instruction and assessment. This method is particularly useful in internal medicine and other specialized courses within the Health Sciences curriculum at Icesi University. This assessment technique is predominantly employed at the culmination of the academic term. At this juncture, medical students undertake the ECO practical examination, a testament to their clinical proficiencies acquired during the term. Commencing in 2015, the Faculty of Health Sciences at ICESI University pioneered clinical simulations with professional actors portraying simulated patients. This initiative aims to augment the experiential learning of medical students and refine their pedagogical journey. The university acknowledges the inestimable value of simulations, not only as instructional apparatuses but also for evaluative endeavors. In this manuscript, we elucidate the evolution of these instructional methods and their dual purpose as assessment tools for medical educators. We also shed light on the merits and potential challenges of their execution.
Theater teaching from the experience of high school students
The teaching of theater has been mainly related to acting exercises, rehearsals, and presentation of a play, under the idea that doing theater (including professional practices of an actor such as improvisation, text analysis, staging, etc.) is the same as teaching it. The same thing happens in the school context, but with educational realities and challenges, especially of a methodological nature, that are revealed when considering: how secondary school students are experiencing theater teaching and what they have to tell us other than what we have conceived. Therefore, this study aimed to understand how theater teaching is developed at school, based on the experience of elementary and middle school students, to move towards the identification of aims and more relevant contents that serve as a common base in the teaching of formal theater. For this, an exploratory-descriptive investigation with a qualitative approach was implemented through a semi-structured interview, which was carried out with six students from two public educational institutions in the department of Valle del Cauca, Colombia, during the 2019-2020 period. These students participated in school theater training processes and other previous experiences with the teaching of the arts. The results found allow dimensioning aspects related to students' vision of the theater, the role of theater in the school, and the professional training of the theater teacher.
This article introduces the results of the investigation: Make Theater for de social education. Methodology Autoficcional for the Creation of Didactic Theater. The project studies didactic work as a dramatic genre and proposes a new technique for the creation of didactic pieces. The theory uses autofiction to find the creative detonator of the work, and consolidate creations that challenge, question, and break belief systems of oppressive environments for the subjects in question. This approach implies carrying out a process of didactic transposition, in which the life of a subject is transformed into teaching content, which, through a process of poeticization, is brought to the scene to fulfill an educational purpose. The goal of this research is to promote reflection scenarios in two communities through the creation of didactic works mediated by autofiction. To do this, it relies on Paulo Freire's Critical Pedagogy and Giroux's Frontier Pedagogy, who conceived education as an emancipatory process. Therefore, the creators and spectators of didactic pieces must assume the challenge of social change, that is, that they are spectator-actors in their own contexts. The methodology used is Pedagogical Action Research, because the analysis is based on the device for the creation of didactic works, in order to configure and reconfigure the proposed technique so that it can be applied in differentiated educational settings. The implementation occurs in an international context (Universidad Nacional de Cuyo in Argentina), in order to validate the application versatility of the device. The main result of the research is an alternative and innovative proposal to create didactic pieces, on which any dramatic art professional can rely to direct creative processes with an educational approach.
The story of Senén Mosquera (Buenaventura, February 8, 1938 - Bogotá, May 20, 2018) is told. He was the goalkeeper for Millonarios and the Colombian National Team. He alternated the courts with salsa in his mythical Mozambique bar in Lourdes Park in Bogota of the late sixties, between 1968 and 1973. Legendary salsa figures played, talked, and drank there. Grupo Niche debuted one lost night... Here a short play by two characters, inspired by the few surviving recordings and videos and the chronicle by Alberto Salcedo Ramos, “Senén el precursor” published in the book about salsa in Bogotá, Fuera zapato viejo, by Idartes in 2014. In that interview, Senén told Ramos: “In Quibdó, I grew up listening to radio progreso, the Cuban radio station. I knew Machito, his sister Graciela, Depiní, Benny Moré, Compay Segundo, Bienvenido Granda. Before becoming a soccer player I thought I would be a musician”.
The scene takes place in the year 2053, between the memories of THE WATCHER and his apparent state of reality. In his head, the memories are heavy yet profoundly light. All the characters are him; he is an I multiplied and multisituated in other bodies, made of memories with skirts that allude to an ancestral remembrance -perhaps- of his Medea, a dark woman with a reticent character who resists oblivion. Her brain is a morass of black and white matter, cerebrospinal fluid and fragments of a life that wants to disappear. Logos Controller, a gray interdimensional version of Jiminy Cricket, dwells despotically in his memories, reminding him of his humanly chaotic and poetically intravenous, timeless, moderately failed and existentialist nature. Some other appearances will give a permanent account of the order that chaos has... Ultimate Corporation will make your desire a reality or your reality a desire; either option will be possible depending on the will of the observer.
Copyright (c) 2023 Papel Escena https://creativecommons.org/licenses/by-nc-sa/4.0
Is progress a catastrophe? Have we become dehumanized by so much technology? Has consumerism become the engine of our lives? Is the Metaverse the ideal life? Is the earth, our planet, counting down? our planet, is counting down? Hannah Arendt, the philosopher, did not manage to publish in her social networks the following phrase: "progress and catastrophe are the obverse and reverse of the same coin"... but she wrote it in a book. The Pictures of Progress, a parody of our days...
A metaphorical space inhabited from the language of the body, the convention of movement and the characterization of gesture, What would you do if you knew it was the last day of your life? The play " This... Has No Name!" Is born as a result of reading everyday events without explanation: labor exploitation, the daily routine, the complexity of human relationships and the excessive exacerbation of life and so on. They are marked from the intertextuality of an event, a container of national and social order.
The creation El turno is one of the classroom research actions of the creation research project, which questions the practices of experimental theater in Latin American theater, encourages stage inquiry with the issues of living as a thread and makes the artistic laboratory a permanent experience. As part of the teaching/learning path of the program, it implies in its formative experience the inquiry on the different elements of the theatrical discursive fabric, with emphasis on the "verbal" in the framework of the theatrical image, as a statement in dramaturgical and contextual articulation.
At a birthday party the night turns out to be a complete turnaround after an event of civil chaos. The partygoers will have to resort to various methods to keep themselves safe and their property That night, the family's life will change dramatically, baring the depths of their humanity, giving free rein to their most primal instincts.
This is a story about women, and the rivers that inhabit us. Marea Magdalena tells the story of a girl from the countryside that dreams of becoming a river; a river that inevitably flows into the sea; a river that bears her name: Magdalena. Inside the girl dwells the spirit of Mary Magdalene from apocryphal texts, and she has developed a wise, mystical and sexual nature that transgresses on all of the familial structure and context that surrounds her. The text is a journey of finding new meaning and Magdalena’s constant struggle with what it means to be a woman in the violent cultural fabric of her territory; a struggle to achieve her dream of fluidity and freedom. Despite swimming against the current, Magdalena follows the course of her river through its phases to reach the sea. She becomes the tide. María becomes Marea.
Before the end, the name of this collection in homage to Ernesto Sábato, is one of those possibilities to severely alert us about Death from the vital depth, often unnoticed, that inhabits everyday life and that photography has the possibility to reveal without colors that make it up, that hinder it, that make noise. And that crack of existence, disturbing, I find it in the gaze of others as a mirror of my own cracks. As I mentioned, it is generally in old people where I find those looks as abysses through which I also fall. Antes del fin, the book, is for me a collection of anecdotes in black and white, like the author, that give an account of a life that is known to have already passed, on the verge of being taken by Death and that, perhaps for that very reason, speaks to us with such vitality pregnant with the anguish of existence and love.
Racialization of Afro women in the theater and other scenarios
In general I will address the issue of how racialization is experienced in the performing arts and how black women are vulnerable to multiple stereotypes of race and gender. However, there are those resistances from art that seek to resignify, transform and deconstruct these stereotypes, so at the end some examples of resignification will be enunciated. First, a contextualization of the origins of racialization will be carried out. For this reason, we will begin by addressing the concepts of racialization, race and the denomination black. In a second moment, some racializing perceptions of the black woman in latin america, and how these perceptions have been translated into representations in theater, literature, and the media. In a third moment, the issue of resignification according to henry louis gates, jr. Will be addressed, giving various examples in this regard and finally the examples of resignification will be explained in the theatrical and literary field.
The proposed dialogue explores the Salve Salva Salvia project as a memory document and artistic action device that questions the state’s obligation to protect and the possibility of artistic practices to restore dignity. Salve, Salva, Salvia is a participatory gesture in the form of an offering, of memory and healing (or relief), in the process of creating the Interdisciplinary Master’s Degree in Theater and Living Arts of the National University of Colombia. This practice arises from an ethical call at the juncture of the social outbreak in the city of Cali, Colombia, Due to the murders of young protesters in the framework of the National Strike between April and June 2021 in Colombia.
From the scenic event to its enunciation
From the performance event to its enunciations presents a reflection on the ways in which memory of dance event is built through a verbal and written scenario in which dance extends its communicative borders. Once the dance disappears as an event, it reappears in the field of memory as a dissemination process that travels through the word, the body, the text, the image and the sound. These are enunciations that dance produces. Different types of reappearances reactivate dance experience, widening the borders of the event and inserting itself into social life. Dance is displaced in time: it happens, resonates and moves in time; and this displacement of dance in memory is not condensed as a unit, or in a particular form of memory, but the memories of dance make up a complex world in which many types of voices, formats, and scenarios resonates. This document starts from the question about the memory of dance as a concept and as a practice managed in and by the body, which leads to a reflection that is based on the analysis of different types of texts that emerge in the context of dance as well as in the same choreographic practice that becomes a field of research. In this text I present the choreographic research Volume 18 No.1 carried out in 2010 within the framework of my master’s degree in choreography.
The relationship between history and theater
The article presents the results of the research entitled: From history to theater: Soldados, a collective rewriting of the Banana Massacre, 1968-1972, a monograph carried out to qualify for the title of historian at the University of Cauca, whose general objective was identify how the BananaMassacrewas represented in the play Soldados of the Teatro Experimental de Cali, in the period of 1968-1972. It was a documentary investigation, whose study was a case, under the approach of cultural history, trying to operationalize the concept of theatrical event (Dubatti, 2011a) in relation to the historical event, in the context of the production of the play Soldiers in the versions of the Teatro Experimental de Cali –TEC–, carried out between 1968 and 1972. For this, archive sources available from the Centro de Investigación Teatral Enrique Buenaventura –CITEB– were used, the text of the work and a visual archive of it. For the analysis, a reading matrix adapted to the contents and key concepts of each type of document and its origin was used, applying, in some cases, paleography techniques and textual criticism. The results allow us to affirm that the TEC carried out, in the play Soldados, a novel and pioneering representation of the Banana Massacre, under a historical interpretation that was based on historical materialism and under a scenic proposal that responded to the discovery, by the theater group, of a collective work method, in the context of the sixties where, both history and theater, began a process of professionalization and modernization in Colombia