This paper presents a proposal for preparing actors to approach a character, called alternate memory, which is a quick way to build a character. With this way of acting we cover the anthropological and emotional research of the character, allowing the actor/actress to support their physical and emotional training with the emotions, actions and reactions of the other. The theoretical basis of this research is in the theories of Stanislavski (2011) and Serrano (1981). General knowledge about emotions, reactions, body, mind and memory is taken from Alonso (2019), Kenneth (1996), Tortora (1993) and Matlin (1996). The methodology used is based on a qualitative approach, with a phenomenological orientation, under a semi-structured, interactive, and flexible design, developed through documentary research with an unstructured interview. Alternate memory is a very useful resource for character building and the emotional protection of the actor/actress.
The main objective of the following article is to delve into the plastic arts, specifically in the geometric abstraction that occurred in mid-1932 in Maracaibo and which today is considered the starting place of this artistic movement in Venezuela. For this, a qualitative methodology supported by the hermeneutic method was assumed, considering as the unit of analysis the internal decoration of the Upper Room of the Baralt Theater in Maracaibo, specifically the ceiling and the large lamp inspired by art dec & oacute; and made by the zuliano artist Antonio Angulo. Direct observation was applied as a collection technique, while the units of analysis were the documents and images of the selected works. It is concluded that the artist Antonio Angulo is considered the first abstract artist in the history of art in the country.
Flexibility in architecture allows individuals to be what they want to be. Housing is a living manifesto of reflection and evolution of the sense of belonging. In countries with emerging economic conditions, such as Mexico, the lack of good policies in housing programs, the home's transformation is a strategy for improving life and manifestation of the identityof its inhabitants. Howdoes the inhabitant manifest its appropriation in the experience of architectural interior space? How is architectural flexibility a form of appropriation in daily living in these environments? Through the analysis and reflection of the interior space in contexts with emerging economic conditions in Aguascalientes, Mexico, and under the concept of liquid habitability as an element of appropriation post-COVID-19 pandemic in the scale of immediate relationship, the work aims to establish criteria and considerations that promote improving the quality of life of the inhabitant.
The spread of capitalism facilitated the creation of large empires based mainly on eco-nomics. Films were part of this endeavor. Some National Cinemas were built on the need to create a distinct body of work that stands up against more dominant cinemas. Even within countries this has been the case. When the films of a region openly defies the in-fluence of another, some questions arise. Is possible to define a cinema within a National Cinema? What is a National Cinema when a nation is spread across countries' frontiers? Can we talk about a National or a Regional Cinema when talking about a group of films that have been deeply mirroring the films of other nations/regions? We will explore these questions using a historical-narrative approach analyzing the films La Otra Muerte, Al Otro Lado del Mar, and Ram & oacute;n No Sabe Volar, made in the Zulia region in northwest Venezuela.
