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Copyright of Revista Razón Crítica is the property of La Fundacion Universidad de Bogota Jorge Tadeo Lozano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Asparkía. Investigació Feminista is the property of Instituto Universitario de Estudios Feministas y de Genero Purificacion Escribano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bellas Artes is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 20th century marked a before and after in the Art. Fundamentally, the emergence of the avant-garde brought new ideals that allow the open work approach. Therefore, from the current context of the 21st century, we ask ourselves: How does the Art express this idea of open work? And how does the Art of today manage to expand towards social and communicative pretensions that involve the viewer in new forms of participation? It is because we show different examples, which tell us how the situation of the author and the viewer in front of the work has developed. [ABSTRACT FROM AUTHOR]

Copyright of Educación y Ciudad is the property of Instituto para la Investigacion Educativa y Desarrollo Pedagogico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Trabajo Social is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Poligramas is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Plurentes is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The interactive documentary field has a collaborative dimension since its beginning. This research proposes a model for the analysis of the participation of online communities within interactive documentary, developed on the basis of the previous scientific literature on this topic. Then, analysed case studies have shown the diversity of forms regarding contribution from online communities. On the basis of the different trends observed, five participative designs with different intensities and purposes have been described. Finally, the model has been applied to each design for its evaluation, allowing us to conclude that a significant participation would have to combine several of these designs considering the articulation of participant communities around documentary as well as its contribution to documentary meaning. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Actualidades Pedagógicas is the property of Revista Actualidades Pedagogicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present study aims to reflect on the origin and transformation of the collective creation of Latin American theater, an artistic action form that since the 50's and 60's found in the real historic a focus of aesthetic-poetic exploration to reconfigure its expressive modes and get closer to the reality with the communities from a more committed way. Through a perspective analysis, situated on some representative plays by the emblematic groups from the Latin American region, and in particular from Colombia, a reading is done in parallel to the postulates of the Participatory Action Research, to observe how behind these artistic objects, an investigative process of high commitment is produced in search for social change, as critical social science proposes. The study shows how this form of scenic creation keeps testifying social reality, and in special the armed conflict, not just from the testimony and denunciation, but appealing to the memory from liminal procedures as well. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Politicos (01215167) is the property of Universidad de Antioquia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The objective of this paper is to present an analytical systematization of the conceptualizations around the stage performances presented in the XII version of the International University Theater Festival (2015), organized by the Department of Performing Arts of Universidad de Caldas, for which a categorization of the pieces submitted to consideration and scrutiny of the external reader - viewer, with a view to future deepening of each of the categories listed, is proposed. [ABSTRACT FROM AUTHOR]

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: To study and systematize the first experiences of post-dramatic Colombian theater in two main stage productions of the 80's: The Perfect World and Outside, OK? Divertimento for the Deaf and the Schizoid, two dramatic and put on stage works of the author. Scope: It is about highlighting these scenic experiences that become a milestone in the history of Colombian theater, as their projection and visibility are important for future research on these topics. Methodology: A descriptive methodological approach is used since the article is intended to make an exhausting memory of the process undertaken by the actors who participated in its creation and staging. Conclusions: Establishment of a systematization proposal of the staging processes of the two plays through the voices of their principal actors, in a fundamental work that will serve the new generations of playgoers to know firsthand the recent history of the Colombian theater movement. [ABSTRACT FROM AUTHOR]

The content of this article is a recount of how "The Devotee" character was created in the stage work "If the River Spoke..." An important objective was the creation of a refl ection of the actor-creator in a Collective Creation process which is the form of working used by La Candelaria theater group. On the other hand, it is also an objective to show the panorama that links Collective Creation with the actor or actress creative work; this is to say the development and creation of the play in all dimensions, the formal, the technical, the thematic, the artistic in relation with the character creation that makes up the play. Like all plays from La Candelaria Theater, this staging also shows a metaphor of our social reality, reason why the artist creator is forced to develop a theoretical and practical research process on which the creative experience is supported so that, when placed in relationship with the audience, the result of the aesthetic objectives proposed at the beginning of the process can be determined. This article is aimed at artists from performing arts, students in training, critics, scholars and theater researchers who are interested in knowing how Collective Creation works from this group that, since its inception has been interested in creating their own theater art, a national theater art. The play was created following the usual method of collective creation used by the group: initially the process is determined by the topic of interest to be investigated that is developed in a theoretical and practical way, specialized chats and conferences, writt en material, movies, etc., which allows documenting the proposed topic. In the practice, the process is developed by means of a fundamental tool: improvisation. Thus, the writing is elaborated through a description of the general process of the play: materials consulted narration of improvisations, creation of scenes, organization of the play, and gets into the creation of the character through a refl ection that involves dialogue selection, referents consulted, formal intentions, etc. This way, an analysis of the process followed by the group in the making of a play, the creation of "The Devotee" character made by the actress, and the research addressed to reach the fi nal result of the created play, in this case "If the River Spoke..." can be accessed The topic of the play is violence in Colombia from the perspective of extermination. Within this context, "The Devotee" character is constructed as a heroic, compassionate and religious woman who is at the same time a pagan woman. The refl ections presented in the article lead to a continuity in the thoughts on how the roads of theatrical creation are built, taking into consideration that there are not preestablished formulas on this aspect. Moreover, relating the country social reality with the artistic creations is a way to generate refl ection from the recipients and additionally changing those experiences into academic consultation materials, contributes to create Colombia's own Theater Movement theories. [ABSTRACT FROM AUTHOR]

The article: "Collective creation, didactics of theater", leads to the encounter with theater didactics, a field that has not been investigated in an abundant manner and that, in this study, acquires some forms that are closer to its existence. Moving this way, around reflections about theater and its relation with history and didactic as elements that relate from staging as a collective creation methodology. The results of this research bring us closer to a conception of didactics of theater that is based on exploration, game, critical thinking, creative performance and staging aesthetics. [ABSTRACT FROM AUTHOR]

This article deals with the get into character construction in the scene setting process during the production of the play "Trails without Faces" as the product of the research process about forced displacement in Colombia, a project registered in the Research Vice Rector's Office at Universidad de Caldas whose performance was carried out using the collective creation methodology. The play was produced by professors and professional actors belonging to the "Theater, Culture and Society" research group from the Scenic Arts Department where one of the methodological strategies implemented was the discovery by each member of a paradoxical image that synthesized the research object and allowed to deal with the scene from a polysemic reading in the variety of meaning. [ABSTRACT FROM AUTHOR]

The paper pretends to account for the creative-investigative process or journey obtained in the research project approved by the Research Vice rector's Office at Universidad de Caldas with the "Theater, Culture and Society" research group belonging to the Scenic Arts Department. The project is based on the forced displacement problem in Colombia and results in the scene setting and dramaturgic material production of the "Trails without Faces" play which is conceived from the collective creation work style which allows to ask through improvisation, as a fundamental tool, the different possibilities and scenic creative ways from what is known as the actor's theater art. [ABSTRACT FROM AUTHOR]

Copyright of Innovacion Educativa is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tradition Oral Literature / Boletín de Literatura Oral is the property of Boletin de Literatura Oral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reveals the profile of the builders of Wikipedia's contents in Spanish, named wikipedians. It also presents their production routines, their thoughts about the collective creation and their point of view about this free encyclopaedia in relation to its credibility, its reliability, its use as a source and its problems. The research has been made from a survey destined for the wikipedians. The conclusions arisen from crossing the answers of the surveyed group and the defined theoretical frame —focused on the Knowledge Society—, in a "zoom in" process towards Wikipedia (through the cyberculture, the collective creation and the Web 2.0). The facts presented here are part of the results of the research work "The collective creation of informative messages in the Web 2.0: the Wikipedia case". [ABSTRACT FROM AUTHOR]

The first part of the research project corresponds to the Table Work about the historical investigation of the facts as they occurred on April 9, 1048 in Bogotá which were related to the murder of the popular leader Jorge Eliécer Gaitán, facts better known as the "Bogotazo". The given circumstances and Juan Roa Sierra's scenic image as the antagonist of the drama that transformed Colombian people's lives from the socialeconomic, political and cultural view points, since after 1948 the country was never the same, are explored. However, the character that has been considered the alleged offender in this assassination is a character upon which many doubts exist, being this precisely the intention of this project that pretends to give him the status of a theater character. The expected result is then the creation of a dram text around his image and his antagonism in the context of the above mentioned events. [ABSTRACT FROM AUTHOR]

This article takes up again the most contemporary voices on the study of digital narratives. It is an attempt to overcome once and for all the supposed opposition between techno-optimists and techno-pessimists and the stage of demolition or struggle among its opponents, in order to begin to see, from a poly-systemic outlook that comprises all the relevant actors and field studies as well as the processes of production, the different aesthetics, and interpretations which have created a new ecology of media and hypermedia that in fact democratizes the ways of speaking and narrating, up to such a point, that today the recovery of the old Utopia of numerous previous cultures seems imminent: collective creation. [ABSTRACT FROM AUTHOR]

Two wiki projects of collaborative fiction: one that fails and another that is developed with success, function like pretext in this article to deploy a reflection on the new thought ways and on the new social nexus favored today for the new technologies of the information and the communication: the project of the collective intelligence. Four authors ground this reflection: Pierre Lévy, Derrick of Kerckhove, Howard Rheingold and David Casacuberta. After showing the possibilities of the collective intelligence exercises, the article concludes affirming that the space of the knowledge is constituted, irreversibly, in a new anthropological space: the one of the collective intelligence, to which we all are called to build. [ABSTRACT FROM AUTHOR]