In cinema, the presence and evolution of the non-actor can be traced back to its very origins, continuing throughout the 20th Century, by the safe-keeping of realism within the realm of fiction. Parallel to this, a series of immersive proposals emerged in experimental cinema. These works introduced the spectator's body into the image or the film event itself, causing them to abandon their traditional place and position to become a (non)actor/performer. This entire process was accentuated by the arrival of the digital -and intermedial- era, while also finding new forms of expression in a new dimension beyond the film event. In this dimension, the spectator, with nobody to guide their gaze, becomes the subject/character, as is the case in the work analyzed here: Carne y arena (Virtualmente presente, f & iacute;sicamente invisible), directed by Alejandro G. I & ntilde;& aacute;rritu in 2017.
Originally published in 1928, Orlando: A Biography stands out as one of Virginia Woolf's most influential novels in today's artistic landscape. This enduring fascination has found fertile ground in film and theatre, where adaptations have multiplied in recent years. In this article, I examine two such adaptations: one directed by British director Katie Mitchell, based in Germany (Orlando, 2019), and the other by Spanish director and visual artist Marta Pazos, which recently premiered at Centro Dram & aacute;tico Nacional (Orlando, 2025). My aim is to analyze, from a postdramatic perspective (Lehmann), the work carried out in these productions by both actors and non-actors (Kirby), focusing on three key elements: the use of Live cinema and Scenic poems, vocal performance and the treatment of corporality on stage.
This paper explores the specific way in which the shows by Cross Border and Pont Flotant incorporate the figure of the non-actor to the stage and the exercise of expectation that their proposals vindicate from this democratization of the performance space. We will thus explore shows that are clearly ascribed to the forum theater model -& iquest;Qu & eacute; hacemos con la abuela? or La chica que so & ntilde;aba, by Cross Border- in which the audience becomes a spect-actor and, therefore, a performing subject of the dramatic action; and, on the other hand, proposals -such as El hijo que quiero tener, Como piedras or Las siete diferencias, by Pont Flotant- in which the inclusion of non-actors in the process of creation and exhibition of the shows generates dynamics of reception that weaken the boundary between the space of poiesis and space of expectation, favoring an exacerbation of communitas.
This paper focuses on demonstrating the coordination between verbal and musical language in the drama Do & ntilde;aMaria de Molina by Roca de Togores. The composer Ram & oacute;n Carnicer provided de music for its premiere on the name day of Queen Regent Maria Cristina in 1837. The use of the musical parameters of the preserved score is examined. Their connection to the essential ideas of the work, and to the scenes in which they are found is established. Data that allow conclusions to be drawn regarding the sections that were removed after the initial performance are also provided.
Objects that survived totalitarian violence not only function as material evidence of a traumatic past, but can also act as affective and critical devices, able to engage the public through the aesthetic and political re-signification they acquire in the hands of later generations. Drawing from Memory Studies and New Materialisms, and using a comparative and analytical approach, this article analyses the meanings these objects take on in different geographical locations (Spain, Argentina, and Chile), from various viewpoints (descendants of victims and children of perpetrators). The article will approach the exhibition Objectes (des)apareguts (2021), as well as the documentaries El hijo del cazador (2018), Punto de encuentro (2022), and Bastardo. La herencia de un genocida (2023).
