All Hemispheric Institute Digital Video Library See complete cataloging information for this video
NYU Libraries
video

Teresa Ralli : El desmontaje de Antígona

Ralli, Teresa, Grupo Cultural Yuyachkani, Hemispheric Institute of Performance and Politics, Hemispheric Institute Encuentro (8th : 2013 : São Paulo, Brazil)
Permalink
https://hdl.handle.net/2333.1/931zctt4
Title
Teresa Ralli : El desmontaje de Antígona
Other title
Disassembling Antigone
Author/Creator
Ralli, Teresa, Grupo Cultural Yuyachkani, Hemispheric Institute of Performance and Politics, Hemispheric Institute Encuentro (8th : 2013 : São Paulo, Brazil)
Restrictions/Permissions
Copyright holder: Hemispheric Institute of Performance and Politics, Contact information: 20 Cooper Square, Fifth Floor, New York, NY 10003, U.S.A., +1-212-998-1631 (business), +1-212-995-4423 (fax), hemi@nyu.edu, http://www.hemisphericinstitute.org
Language
Spanish
Date
2013 Jan 14
Format
1 online resource (video file (88 min.) : sound, color.
Credits
Teresa Ralli.
Notes

Teresa Ralli is a founding member of Grupo Cultural Yuyachkani - her main space of experimentation and creation. She is an actress and director who researches both voice and body. She is also a Professor at the Pontificia Universidad Católica del Perú, where she received a degree in Communications and a graduate degree (for a distinguished career) in Theatre Arts.

The 8th Encuentro of the Hemispheric Institute sought to examine the broad intersections between urban space, performance and political/artistic action in the Americas. From the critical poetics of body art to the occupation of public space by social movements, the event invited participants to explore the borders, identities and practices through which subjectivities, hegemonies and counter-hegemonies are constructed in the spaces of the city and beyond. This performatic demonstration is inspired by the questions that emerge during the creation of a performance of Antígona. What creative process must an actor undergo in order to arrive at the performance? How does she construct a stage language in order to bring the performance to life? How do the director and the actor enter into dialogue?

Accessibility