The purpose of this article is to reflect, from a relational perspective, about the creative spaces that arise from the body and movement in the performing arts. Drawing on the experiences of El presidente más feliz and Artilugios de la mirada, we examine how the emergence of ideas and emotions, both singular and collective, in the encounter with others through movement generates a framework that imbues the work with meaning. The relational theory allows us to identify the representational and presentational dimensions that participate in the encounter, inviting us to discuss how these collective spaces in the performing arts, where meanings are constructed collaboratively, can serve as platforms for an ethical-political reflection-action by fostering the coexistence of diverse perspectives on reality.

The purpose of this article is to reflect, from a relational perspective, about the creative spaces that arise from the body and movement in the performing arts. Drawing on the experiences of El presidente más feliz and Artilugios de la mirada, we examine how the emergence of ideas and emotions, both singular and collective, in the encounter with others through movement generates a framework that imbues the work with meaning. The relational theory allows us to identify the representational and presentational dimensions that participate in the encounter, inviting us to discuss how these collective spaces in the performing arts, where meanings are constructed collaboratively, can serve as platforms for an ethical-political reflection-action by fostering the coexistence of diverse perspectives on reality.

The collective creation in performing arts presents new challenges in virtuality. Intermedials creations propose the reorganization of the creative processes, of the body and the gaze of the performing artists. Based on the situated experience of Aliento y vacío, short film, whose process continued in a virtual and individual way due to the pandemic, we analyze the relationships that are established between the performing artist and his creative material in virtuality, taking as references concepts such as body memory, the rewriting of materials and collective weaving. At a methodological level, this work has involved reviewing the documentary material of the research process and conducting interviews with the performing artists. Part of the proposal incorporates the conversations between the authors as devices to generate a co-perception of the experience we analyze as well as the writ...

The collective creation in performing arts presents new challenges in virtuality. Intermedials creations propose the reorganization of the creative processes, of the body and the gaze of the performing artists. Based on the situated experience of Aliento y vacío, short film, whose process continued in a virtual and individual way due to the pandemic, we analyze the relationships that are established between the performing artist and his creative material in virtuality, taking as references concepts such as body memory, the rewriting of materials and collective weaving. At a methodological level, this work has involved reviewing the documentary material of the research process and conducting interviews with the performing artists. Part of the proposal incorporates the conversations between the authors as devices to generate a co-perception of the experience we analyze as well as the writ...

The collective creation in performing arts presents new challenges in virtuality. Intermedials creations propose the reorganization of the creative processes, of the body and the gaze of the performing artists. Based on the situated experience of Aliento y vacío, short film, whose process continued in a virtual and individual way due to the pandemic, we analyze the relationships that are established between the performing artist and his creative material in virtuality, taking as references concepts such as body memory, the rewriting of materials and collective weaving. At a methodological level, this work has involved reviewing the documentary material of the research process and conducting interviews with the performing artists. Part of the proposal incorporates the conversations between the authors as devices to generate a co-perception of the experience we analyze as well as the writ...