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El concepto de "lo real" en el teatro documento: «Fiesta, Fiesta, Fiesta», de Lucía Miranda
Artículo
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Acceso abierto
<p>Fiesta, fiesta, fiesta de la compañía The Cross Border Project, con dramaturgia y dirección de Lucía Miranda, es una creación generada con la técnica teatral verbatim. El texto dramático y la escenificación se basan en entrevistas a profesores, personal no docente, padres y alumnos de un Instituto de Secundaria. Esta obra se enmarca en un fenómeno, propio del teatro documento, que ha tenido una presencia significativa en la cartelera española 2019/2020: el uso de lo real en la escena. En este artículo pretendemos analizar este concepto y su uso como estrategia escénica, ya que condiciona la emotividad en la recepción para un fin superior: desvelar la problemática que se vive en la educación secundaria en España y promover la concienciación ciudadana ante ella.</p>...
<p>From The Cross Border Project company, Fiesta, Fiesta, Fiesta, written and directed by Lucía Miranda, is an artwork created using verbatim theatre techniques. The dramatic text and staging are based on interviews with teachers, non-teaching staff, mothers and stu-dents of a secondary school. This work is part of a phenomenon that had a significant presence in Spanish plays during 2019-2020 season: the use of “the real” on stage. This article focuses on analysing Miranda’s work through this concept and its use as a theatri-cal strategy, given its influence on emotive reception, with a higher purpose: to reveal the structural discriminations and difficulties experienced in secondary education in Spain and promote citizen awareness. In our methodology we mix theories on contemporary political sociology around the real and documentary theatre, as well as theory about the analysis of the creative process and of productions.</p>...
<p>From The Cross Border Project company, Fiesta, Fiesta, Fiesta, written and directed by Lucía Miranda, is an artwork created using verbatim theatre techniques. The dramatic text and staging are based on interviews with teachers, non-teaching staff, mothers and stu-dents of a secondary school. This work is part of a phenomenon that had a significant presence in Spanish plays during 2019-2020 season: the use of “the real” on stage. This article focuses on analysing Miranda’s work through this concept and its use as a theatri-cal strategy, given its influence on emotive reception, with a higher purpose: to reveal the structural discriminations and difficulties experienced in secondary education in Spain and promote citizen awareness. In our methodology we mix theories on contemporary political sociology around the real and documentary theatre, as well as theory about the analysis of the creative process and of productions.</p>...