Los aspectos relacionales entre creador y espectador a través de los signos esfinges en El lado B de la materia de Alberto Villarreal: una mirada espectatorial
DOI:
https://doi.org/10.69746/liminal.a11Keywords:
Postdramatic theatre, co-creation, sphinx signs, reception, neurosciencesAbstract
This article focuses on the current receptive problem facing postdramatic creations in the midst of a present society in which the systems of attention and symbolic formulation are altered due to existing changes in techno-digital communication systems. As well, the re-construction of signs is delved into from the rethinking and criticism of Lehmann’s Postdramatic Theatre by the Belgian researcher Catherine Bouko, in which she builds a discriminatory system on postdramatic forms based on five criteria; one of them, the sphinx signs.
Given the above, it is essential to use a transdisciplinary theoretical framework, in which sociology, philosophy, theatre studies and neuroscience come together to answer the central question of this article: How do audiences build a new observer relationship in front of postdramatic works through sphinx signs and what are the implications of said relationship in today’s society?
The above would help to clarify the new audiences who have mutated their perceptual retention and have created systems of scenic incorporation of knowledge from a rhizomatic thought (Deleuze-Guattari) that creates a way of understanding oneself in the world. Therefore, postdramatic forms create a postdramatic agency in the audiences and give the possibility of a personal symbolic reading from a personal connection between sphinx signs and their own existence, revaluing the receptive subject as an invisible creator.
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