Las formas de la vitalidad en la recepción de una obra teatral

Alicia Clara Nudler; María de la Paz Jacquier; Silvia Español

doi:10.24215/18530494e013

Authors

Alicia Clara Nudler Universidad Nacional de Río Negro http://orcid.org/0000-0002-2142-8693
María de la Paz Jacquier Universidad Nacional de Río Negro http://orcid.org/0000-0002-9183-5307
Silvia Español Facultad Latino Americana de Ciencia Sociales (FLACSO) - Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET) http://orcid.org/0000-0003-3039-0698

DOI:

https://doi.org/10.24215/18530494e013

Keywords:

forms of vitality, theatre-dance, reception, embodied cognition

Abstract

This article describes an empirical study conducted with spectators of a theater-dance piece with the goal of exploring the reception of forms of vitality (Stern, 1985 and 2010). The study entails a complex design including a) the production of a live performance; b) the creation of an original stimulum based on the play; c) the design of tasks to be carried by spectators after the show. The performance attended by the spectators/participants was Dibaxu by theater director Hugo Aristimuño. The stimulum was the projection of two excerpts of the play recorded during one of the live performances. The tasks were four: two non-verbal tasks, original and innovative, and two verbal ones. The specific traits of the performance, the process of creation of the stimulum and the tasks carried by participants are described. The results are presented of the verbal task consisting in the selection by participants of forms of vitality words to describe the excerpts. The article also discusses the challenges of studying the reception of live performances, establishes comparisons with other studies in the field, and points to the advantage of designing a short stimulum which nevertheless retains some of the qualities of the whole performance. Finally, it discusses the contribution of the study to the knowledge of forms of vitality and to cognitively oriented research on dance and theater audiences.

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