Esta investigación surgió con el interés de brindar una guía que permita a las organizaciones de teatro y música considerar al público como eje de su gestión, debido a la escasa sistematización del proceso de Gestión de Públicos identificada en el sector de las artes escénicas en el contexto limeño. Es por ello que el objetivo de la investigación es identificar los factores críticos para la Gestión de Públicos que influyen en el éxito de las organizaciones escénicas independientes de Lima. Por lo que se utilizó dos unidades de análisis: Asociación Cultural Selvámonos, organización de música, y la Asociación Cultural Drama Teatro La Plaza, organización de teatro. Además, se centra en cómo las organizaciones diseñan su oferta para dirigirla a sus audiencias, por lo que busca identificar los criterios y herramientas para la Gestión de Públicos. De esta manera,...

Esta investigación surgió con el interés de brindar una guía que permita a las organizaciones de teatro y música considerar al público como eje de su gestión, debido a la escasa sistematización del proceso de Gestión de Públicos identificada en el sector de las artes escénicas en el contexto limeño. Es por ello que el objetivo de la investigación es identificar los factores críticos para la Gestión de Públicos que influyen en el éxito de las organizaciones escénicas independientes de Lima. Por lo que se utilizó dos unidades de análisis: Asociación Cultural Selvámonos, organización de música, y la Asociación Cultural Drama Teatro La Plaza, organización de teatro. Además, se centra en cómo las organizaciones diseñan su oferta para dirigirla a sus audiencias, por lo que busca identificar los criterios y herramientas para la Gestión de Públicos. De esta manera,...

This article aims to reflect on a challenging process of artistic creation of collective writing from an anthropological perspective, arising from academic research, around which a clown performance event was built. This scenic event, in turn, proceeded to be transferred from its original live performance format to an audiovisual recording format of that same performance. The transition from a situation of simultaneous presence of the clown and his audience, to another where the corporeal, sensory, emotional participation of the audiences is “mediated” by the production decisions that “compose” a “gaze” expressed by the camera that, as deferred “narrator,” assumes the leadership of an expressive communication process about the human values and emotions defined by a culture, in front of an anonymous audience. Confronting the initial challenge of finding significant express...

This article aims to reflect on a challenging process of artistic creation of collective writing from an anthropological perspective, arising from academic research, around which a clown performance event was built. This scenic event, in turn, proceeded to be transferred from its original live performance format to an audiovisual recording format of that same performance. The transition from a situation of simultaneous presence of the clown and his audience, to another where the corporeal, sensory, emotional participation of the audiences is “mediated” by the production decisions that “compose” a “gaze” expressed by the camera that, as deferred “narrator,” assumes the leadership of an expressive communication process about the human values and emotions defined by a culture, in front of an anonymous audience. Confronting the initial challenge of finding significant express...

This article aims to reflect on a challenging process of artistic creation of collective writing from an anthropological perspective, arising from academic research, around which a clown performance event was built. This scenic event, in turn, proceeded to be transferred from its original live performance format to an audiovisual recording format of that same performance. The transition from a situation of simultaneous presence of the clown and his audience, to another where the corporeal, sensory, emotional participation of the audiences is “mediated” by the production decisions that “compose” a “gaze” expressed by the camera that, as deferred “narrator,” assumes the leadership of an expressive communication process about the human values and emotions defined by a culture, in front of an anonymous audience. Confronting the initial challenge of finding significant express...