La dramaturgia de Enrique Buenaventura. (Spanish text);.

摘要

In less than thirty years (1950-80), the Colombian New Theatre has reached a degree of complexity which has put it on the lead amidst the independent theatre movements in Latin America. The ever growing political awareness, the involvement of the artists and theatre workers in the changing realities of the country and their participation in the most important philosophical and theoretical currents of their time, have been essential for the development of the movement.;This study is dedicated to one of the leading theatre directors, playwrights and theoreticians in the country, Enrique Buenaventura and his group, the Teatro Experimental de Cali (TEC), which he heads since its beginnings in 1955.;His contribution to the formation of a national theatre has been many-sided. His dramatic production alone amounts to nearly fifty plays, without taking into account the several versions that some of his single plays have received throughout the years. For instance, A la diestra de Dios Padre, one of his best known plays, has gone through five versions in a thirty-year span. His research, as well as his group's, into acting-methods and stage techniques has led them to structure a working Method, the so-called Metodo de creacion colectiva, which has been widely used by other groups all over Latin America. Furthermore, his labor as a professional trainer, whether in a university setting or in a less formal technical-workshop, and as a promoter of new groups have left an indelible print in a whole new generation of theatre artists in Colombia. In fact, Buenaventura and TEC played a decisive role in the establishing of what has been a very active and vigorous guild, the Corporacion Colombiana de Teatro, in 1969.;As a theoretician, Buenaventura has taken up the task of closely examining in his numerous essays some of the most relevant theatrical theories developed within the Western tradition. Also, he has immersed his critical discourse in the on-going universal exploration of the meaning of culture, of society, of the systems of signs, etc., offering us a perceptive view of the arts and sciences at his disposal in the making of his own theories.;Using the tools set forth by some of the subjects studied and interpreted by him: i.e. sociology, psychology, anthropology, linguistics, semiotics, and history, we have approached his dramatic, critical and theoretical production hoping to bring to light the magnitude of his work and the importance of his contribution, along with his group, to the universal theatre tradition.