Miguel A . Orosa
Ph.D. Tenured Assistant Professor and Researcher on European Performance / Postdramatic Theatre. Indigenous performative cultures of the Andean Community vs. Europe/Spain. American cinema and television series that challenge classical paradigms. Philosophy of art / drama, philosophy of performance and its relation to the event in contemporary European thought.
Member of the Faculty of Social and Human Sciences of the Pontificia Universidad Católica del Ecuador. Writer, playwright, screenwriter.
MBA, IESE Business School, Top 5
Law degree
FIELDS OF WORK AND RESEARCH:
- Present and future of LITERARY TEXTS that include dramatic techniques. SEARCHING FOR NEW LANGUAGES AND PARADIGMS FOR THE ARTIST through the written text.
- THINKING ABOUT THE FUTURE OF THE LITERARY TEXT (A NEW PHILOSOPHY OF DRAMA).
- PERFORMANCE / POST-DRAMA. CONTEMPORARY LITERARY TEXTS.
- Indigenism in the Andean Community of Nations (Ecuador, Peru, Bolivia, Colombia) viewed from the perspective of contemporary European philosophy, from the performance-event binomial.
- Contemporary philosophy.
- Contemporary European Theatre Philosophy.
- Tradition and contemporaneity (drama and performance / order and chaos / sense and non-sense / composition and performance / metaphysics and phylosophy of difference) in the creation and analysis of contemporary theatrical manifestations.
- Ad-Lib tradition of drama and popular vs. technical drama and intellectual 'classicism' and Greek tragedy.
- Popular culture (singularity and difference) as a source of contemporary performative scenes.
- Film and television scriptwriting
Phone: + 34 629 10 39 20
Address: Ibarra (Ecuador)
Email: miguelangelorosa@hotmail.com
(The encrypted phone above is only for WhatsApp)
Member of the Faculty of Social and Human Sciences of the Pontificia Universidad Católica del Ecuador. Writer, playwright, screenwriter.
MBA, IESE Business School, Top 5
Law degree
FIELDS OF WORK AND RESEARCH:
- Present and future of LITERARY TEXTS that include dramatic techniques. SEARCHING FOR NEW LANGUAGES AND PARADIGMS FOR THE ARTIST through the written text.
- THINKING ABOUT THE FUTURE OF THE LITERARY TEXT (A NEW PHILOSOPHY OF DRAMA).
- PERFORMANCE / POST-DRAMA. CONTEMPORARY LITERARY TEXTS.
- Indigenism in the Andean Community of Nations (Ecuador, Peru, Bolivia, Colombia) viewed from the perspective of contemporary European philosophy, from the performance-event binomial.
- Contemporary philosophy.
- Contemporary European Theatre Philosophy.
- Tradition and contemporaneity (drama and performance / order and chaos / sense and non-sense / composition and performance / metaphysics and phylosophy of difference) in the creation and analysis of contemporary theatrical manifestations.
- Ad-Lib tradition of drama and popular vs. technical drama and intellectual 'classicism' and Greek tragedy.
- Popular culture (singularity and difference) as a source of contemporary performative scenes.
- Film and television scriptwriting
Phone: + 34 629 10 39 20
Address: Ibarra (Ecuador)
Email: miguelangelorosa@hotmail.com
(The encrypted phone above is only for WhatsApp)
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Videos by Miguel A . Orosa
Original script by Miguel A. Orosa
CREDITS. Dramatic mini-series in three chapters for thematic television.
Original script by Miguel A. Orosa
Guion original de Miguel A. Orosa
E1. Dramatic mini-series in three chapters for thematic television.
Original script by Miguel A. Orosa
El vídeo contiene una entrevista para Noemí Pabón (Kundalini Yoga Instructor/Reikist, Poet, Vegetarian, Chant&Dancing freak) acerca de su y mi preocupación en el área de la literatura contemporánea, mis nuevos proyectos artísticos y mi estancia en Ecuador.
This is the YouTube link to watch the play Inka Wasi:
https://www.youtube.com/watch?v=lLoeUMoSq6A
Papers by Miguel A . Orosa
Esta colaboración científica se trata de una entrada y definición del término "MÍMESIS (y crisis)" para una obra de consulta dinámica (DRW: dynamic reference work). Su nombre es ARESTHEA - Enciclopedia Digital y Centro de Recursos de Estética y Teoría Contemporánea del Teatro. Se trata de una plataforma de acceso gratuito que está en el Catálogo de la Biblioteca Nacional de España con el ISSN 2605-4337. Su enlace: aresthea.es https://aresthea.es/termino/mimesis/
Esta colaboración científica se trata de una entrada y definición del término "FÁBULA (y crisis)" para una obra de consulta dinámica (DRW: dynamic reference work). Su nombre es ARESTHEA - Enciclopedia Digital y Centro de Recursos de Estética y Teoría Contemporánea del Teatro. Se trata de una plataforma de acceso gratuito que está en el Catálogo de la Biblioteca Nacional de España con el ISSN 2605-4337. Su enlace: aresthea.es https://aresthea.es/termino/fabula/
Original script by Miguel A. Orosa
CREDITS. Dramatic mini-series in three chapters for thematic television.
Original script by Miguel A. Orosa
Guion original de Miguel A. Orosa
E1. Dramatic mini-series in three chapters for thematic television.
Original script by Miguel A. Orosa
El vídeo contiene una entrevista para Noemí Pabón (Kundalini Yoga Instructor/Reikist, Poet, Vegetarian, Chant&Dancing freak) acerca de su y mi preocupación en el área de la literatura contemporánea, mis nuevos proyectos artísticos y mi estancia en Ecuador.
This is the YouTube link to watch the play Inka Wasi:
https://www.youtube.com/watch?v=lLoeUMoSq6A
Esta colaboración científica se trata de una entrada y definición del término "MÍMESIS (y crisis)" para una obra de consulta dinámica (DRW: dynamic reference work). Su nombre es ARESTHEA - Enciclopedia Digital y Centro de Recursos de Estética y Teoría Contemporánea del Teatro. Se trata de una plataforma de acceso gratuito que está en el Catálogo de la Biblioteca Nacional de España con el ISSN 2605-4337. Su enlace: aresthea.es https://aresthea.es/termino/mimesis/
Esta colaboración científica se trata de una entrada y definición del término "FÁBULA (y crisis)" para una obra de consulta dinámica (DRW: dynamic reference work). Su nombre es ARESTHEA - Enciclopedia Digital y Centro de Recursos de Estética y Teoría Contemporánea del Teatro. Se trata de una plataforma de acceso gratuito que está en el Catálogo de la Biblioteca Nacional de España con el ISSN 2605-4337. Su enlace: aresthea.es https://aresthea.es/termino/fabula/
This is the YouTube link to watch the play Inka Wasi:
https://www.youtube.com/watch?v=lLoeUMoSq6A
texts to the signs of contemporaneity. The aim of this study is to find out whether the mentioned film texts follow the current guidelines of European contemporary stage writing.
Esta colaboración científica se trata de una entrada y definición del término "TENSIÓN DRAMÁTICA" para una obra de consulta dinámica (DRW: dynamic reference work). Su nombre es ARESTHEA - Enciclopedia Digital y Centro de Recursos de Estética y Teoría Contemporánea del Teatro. Se trata de una plataforma de acceso gratuito que está en el Catálogo de la Biblioteca Nacional de España con el ISSN 2605-4337. Su enlace: aresthea.es https://aresthea.es/termino/tension-dramatica/
I see the future of my research as an exciting landscape. It seems to me that we are once again at the beginning of a significant turn...
This is where I find my work, in line with the new philosophical alternatives that are already taking place, not only a new vision of the world, but also a new artistic approach, which must materialise in a new crystallisation of the theory of art, especially of drama, and in new artistic manifestations, to which I am also committed.
This is the YouTube link to watch the play Inka Wasi:
https://www.youtube.com/watch?v=lLoeUMoSq6A&t=2s
(Queda prohibida, sin la previa autorización escrita de los titulares del copyright, la reproducción parcial o total de esta obra, incluido el diseño de cubierta, por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento informático, y la distribución de ejemplares mediante alquiler público.)
applied: to begin with, a decomposition of the plays into their constituent parts is carried out, and then the common features are synthesized in order to draw relevant conclusions. Results and Conclusions: The results and conclusions validate the non-formal performative model, proposed in the theoretical framework, in their comparison and analysis with the theatrical plays of the most representative authors of the European continent. Discussion: Within the event, the crisis of fable and mimesis induces dissonances due to a new logic of meaning. It is a question of seeing to what extent the reality of these plays meets the proposed model made up as a result of personal philosophical and dramatic research or of one's own and others' experience in the field of dramaturgical management and other signs of the stage.
mentioned film texts follow the current guidelines of European contemporary stage writing.
culture, the homeland) about the patterns and characteristics of the current postheatre in Spain (through its best-known playwrights) and compare them with the differentiating notes of the US post-dramatic television series. Along the way, it is described and also explored the origins of the Spanish post-drama from the Middle Ages through the Golden Age, and this in a way that this dawn of festive and popular
character (unlike the technique and intellectuality of Greece) creates an individualistic and libertarian atmosphere in the stage. Accordingly, the Spanish post-dramatic universe breaks with the classic conventions and connects with the post-series television drama of the USA, which thus separates itself from its Elizabethan, and therefore Saxon, tradition. As a result, paths are opened up in order to find ways for popular and commercial seduction and to ensure the future of the industry and dramatic art in the USA based on the cultural identity policy in the realm of the Spanish language.
Indigenism of Latin America (Ecuador, Peru, Bolivia, Colombia), this article tries to show some plays -and their analysis/patterns- of the main/canonical playwrights of Indigenous influence within the Andean area. We are going to compare two cultures, two ways that are somewhat different in their mode and manner of communication: the European (post-)dramatic and the Hispanic (Latin American and Iberian) in the Spanish language. What does this Andean Indianism (somehow eradicated by the Spaniards) have in common with the
post-drama of Europe and that of the Spanish homeland and what, on the other hand, of disagreement? On what has the Indian-Spanish and the Greco-European-Elizabethan culture based their divorce in their understanding of drama? Answering these questions is offered to us as an objective for a study that opens the doors to enigmas never before approached by literary science.
Andean countries (Ecuador, Bolivia and Peru, excluding Colombia due to the size of its market) and their architectural transformations. Thus, identity and architecture will be related to the cinema, both by their textual and narrative-audiovisual aspects. To perform the analysis, three models will be exhibited: dramatic, postdramatic and audiovisual postdramatic. The results show that in the three countries there are clear postdramatic manifestations in their cinematography, especially in some of their most outstanding films.
características del cambio dentro de la naturaleza organizativo-“dramática” de los teleseriales citados. El paso desde un modelo esencialmente “dramático” a una composición/parataxis de naturaleza posdramática en las teleseries más conocidas y prestigiosas de estos últimos años en los Estados Unidos nos obliga a analizar en qué situación nos encontramos dentro del entorno del posdrama
televisivo de ficción de nuestro tiempo. El análisis se centrará en el perímetro de la organización y desarrollo de carácter (pos)dramático de las teleseries USA y sus principales manifestaciones dispositivas u organizacionales. Los cambios fundamentales de esta nueva constelación son significativos en el segmento de la organización del (pos)drama; el “sentido” de la composición, que se mantiene en un formato de mínimos, cede su preponderancia a la yuxtaposición, y ambos (composición y parataxis) prefiguran y tratan de aventurar el orden del caos. La “tensión dramática” ocupa un papel fundamental y preponderante en la nueva comunicación posdramática. Algunos ejemplos tratan de poner de manifiesto y hacer entender cómo opera este nuevo modelo de ficción en el panorama del posdrama teleserial norteamericano.
RESUMEN El presente trabajo parte de la teoría constructivista neo-funcionalista como aquella que permite entender que los procesos de diálogo y participación social son los que construyen cultura, asumiendo una visión dinámica y cívica de la misma, en contrapo-sición a las visiones orgánicas y mucho más conservadoras. El objetivo principal es el de crear un panel de análisis de obras tea-trales desde el punto de vista del drama (sentido) y del posdrama (sinsentido), introduciendo de forma transversal conceptos tales como identidad, interculturalidad y participación. El objetivo secundario, y como forma de validación de los paneles, es el de ana-lizar de forma comparada las similitudes y diferencias de dos tipos de manifestaciones del posteatro en lengua española, Europa y el teatro andino, particularmente en Ecuador. La investigación, con un marcado carácter descriptivo y con una visión cualitativa, ha utilizado el método analítico-sintético para abordar un total de siete obras con un modelo de análisis dramático y posdramático. Como resultado, se ve validada la utilidad de dichos paneles desarrollados para realizar este tipo de estudio sobre los elementos del orden y el caos, a la vez que para comprender la participación interna y externa. Como conclusión general, se observa que las obras ecuatorianas actuales responden a una cultura del posdrama que hace uso de elementos de la etapa dramática unitaria y de factores diferenciales de carácter indígena.