HIBRIDEZ Y FRAGMENTACIÓN EN EL TEATRO DE CRISTINA ESCOFET Y DE CLAUDIO TOLCACHIR

Abstract

Nowadays, the text is not the most important thing in theatre; theatre creators take a close look at the process of creative composition and different spectacular codes used by the actors —linguistic, kinetic or proxemic— are included and linked to different expressive systems such as music and lights. With regard to the kinetic code, the systems of the body movements are known to be similar to the rhythms of speech; it is otherwise known that the body can also organize images of this type and that the organization of space and time where action takes place, changes on the move. These languages make up a system of contrasting tensions leading to a strong break-up which deeply crash against the spectators. We will look into these features in the play Padre Carlos (El Rey pescador) by Cristina Escofet —about the life of the priest Carlos Mujica— and in the play Tercer cuerpo, by Claudio Tolcachir.