PDF (Español)
FLIP
Authors
Abstract
In this work I pretend to present partially the general thesis of my work: Theater is Essentially Mimesis. Also, I would like to associate mimesis with an emotional, sensitive component to demonstrate that this is precisely the expressive phenomenal, gestural character in the case of theater that establishes different viewpoints to appreciate such concept. In general sense, we can affirm that both, emotion and thought are expressed in mimesis in total articulation. I want to start from the way in which mimesis was understood in classical theater developed in Greece in the V Century BC from tragedy and comedy as the foundation genres of theater. For this case it is important to establish the difference between Plato and Aristotle, who set the philosophical basis of an art theory that still today is the reason for reflection and from which creators and theoreticians, during almost two thousand years, have fed and created divergences which do not move away drastically from the origin, except for some postmodern theater theories which deny mimesis absolutely and radically.
References
Chevallier, Jean-Fréderic. (2004). El gesto teatral contemporáneo. México: Coedición Proyecto 3/Unam/Escenología.
Dubatti, Jorge. (2005). Escritos sobre Teatro I. Teatro y cultura viviente: Poéticas, política e historicidad. Buenos Aires: Nueva Generación.
Gutiérrez, Alba Cecilia. (2008). El artista frente al mundo. Medellín: Editorial Universidad de Antioquia.
Platón. (1979). Diálogos. México: Editorial Porrúa.
Szondi, Peter. (1992). Teoría del drama moderno (1880-1950). Barcelona: Ediciones Destino.
Tatarkiewicz, Wladislaw. (2000). Historia de la estética. Madrid: Ediciones Akal, S.A.
