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Albarransanchez.Pdf (2.842Mb) UNIVERSIDAD VERACRUZANA FACULTAD DE TEATRO MAESTRÍA EN ARTES ESCÉNICAS VOCES DE ROY HART EN MÉXICO TESIS QUE PARA OPTAR POR EL GRADO DE MAESTRO EN ARTES ESCÉNICAS PRESENTA CARLOS RAÚL ALBARRÁN SÁNCHEZ DIRECTORA: DRA. ELZBIETA D. FEDIUK WALCZEWSKA ASESORA: DRA. PALOMA LÓPEZ MEDINA ÁVALOS XALAPA, ENRÍQUEZ, VERACRUZ DICIEMBRE 2019 1 Agradecimientos Cuando emprendas tu viaje a Ítaca pide que el camino sea largo, lleno de aventuras, lleno de experiencias. (Constantino Cavafis, Ítaca). Considero a todo proyecto como una suma de varios viajes. Así que el presente texto, como resultado de una investigación, no es la excepción. En el camino he tenido la fortuna de encontrarme con muchas personas que han contribuido a este andar. Primero quiero agradecer a quienes recibieron este proyecto en sus aulas: a los profesores de la Maestría en Artes Escénicas de la Universidad Veracruzana (UV), especialmente a la directora y guía de viaje, la Dra. Elka Fediuk, por su complicidad, acompañamiento y brújula en la expresión de mis deseos; a la asesoría de la Dra. Paloma López, por sus palabras motivantes. Además, a los profesores que fueron testigos, escuchas y voces complementarias a este trabajo: Dr. Antonio Prieto, Dr. Daniel Domínguez, Dra. Gloria Godínez, Dra. Margarita Tortajada, Dra. Ahtziri Molina, Dr. Óscar Armando García, Dr. Octavio Rivera, Dra. Donají Cuéllar, y Mtra. Isabel Castillo. También al equipo que trabaja en el Centro de Estudios Creación y Documentación de las Artes (CECDA) por la amabilidad y apoyo que siempre me brindaron. Doy gracias al equipo de lectores: Dra. María Teresa Paulín, Dr. Rafael Figueroa, Dr. Domingo Adame y el Mtro. Roberto Benítez; cuyos comentarios y sugerencias nutrieron las especificidades de esta tesis. Es necesario agradecer a las instituciones que facilitaron el logro del proyecto: al Consejo Nacional de la Ciencia y Tecnología (CONACYT) por brindarme una beca de manutención durante los dos años de la maestría, lo que hizo posible que dedicara el tiempo requerido a los estudios y emprendiera la estancia de investigación en el Centre Artistique International Roy Hart (CAIRH) en Francia. También a la Dirección General de la Unidad de Estudios de Posgrado (DGUEP) por el apoyo complementario que facilitó la realización de la estancia en el CAIRH. Agradezco al personal de la Facultad de Teatro de la UV, por atender las dudas, agilizar los trámites y apoyarme en las actividades estudiantiles. Al Centro Roy Hart (CAIRH), por recibirme como residente de investigación, y facilitarme el acceso a todas sus instalaciones con plena confianza. A Saule Ryan, quien fue mi tutor, profesor y guía en la búsqueda de materiales en el archivo de La Mémoire; a los 2 demás profesores Roy Hart que me impartieron clases, gratas conversaciones, y me hicieron sentir parte de su gran familia: Carol Mendelsohn, João Charepe, Kaya Anderson, Laurent Stéphane, Ian Magilton e Ivan Midderigh. Agradezco a Ivan Midderigh por escanear las fotografías de la visita del Roy Hart Theatre a México durante 1981, y que me permitió reproducir para la presente tesis. A las demás personas que viven, laboran y conviven en el CAIRH, mi más sincero agradecimiento. Deseo referir que el germen del presente proyecto nació mientras estudiaba la Licenciatura en Actuación dentro de la Escuela Nacional de Arte Teatral (ENAT) en la Ciudad de México durante 2012-2016. Indira Pensado fue mi profesora de voz durante los primeros dos años de estudios; fue el tiempo suficiente para que lograra hechizarme del trabajo vocal que compartía. A partir de entonces, la curiosidad y el deseo comenzaron a crecer hasta convertirse en la decisión de emprender la investigación que aquí se presenta. Por su puesto que a Indira agradezco este primer trampolín creativo y vociferante. También agradezco a Hebe Rosell, quien fue mi maestra fuera de la institución universitaria. Ella confió en mi mirada desde el primer día de encuentro, me permitió acompañarla en la toma de bitácoras, fui su becario, me compartió una bibliografía extensa, me brindó impulso, seguimiento, arraigo, y aliento poético que me lanzó a la aventura de la voz en toda su extensión. Por otra parte, doy gracias al maestro Bruno Bert por confiarme sus conocimientos pedagógicos, regalarme su mirada, asesoría y espacio para probar mis intereses en la escena docente de la voz con mis compañeros de clase. También a Ignacio Escárcega, por motivarme a convertirme en un joven profesor de voz, con la consciencia del aprendizaje continuo y la responsabilidad que esto conlleva. Agradezco a una amplia comunidad de la ENAT que ayudó a que hiciera posible un primer viaje a Francia en el 2015, el cual fue parteaguas del segundo viaje. Estoy tremendamente agradecido a los que confiaron en mi voz, y me permitieron crear voz con ellos. A los colegas y amistades: Karla Paola Arellano, Zezé Figueroa, Daniela Bustamante, Marellie Henzerbean, Bella Nava, Itza Lune, John Tautímez, Sofía Leyva, Noel Díaz, Érika Sanz, Carlos Herrera, Domingo Mijangos, José Manuel Lira, Nadia Cuevas, Mónica Romero, Azucena Verdín, Brenda Urbina, Nick Angiuly, Pedro Pablo Rodríguez, Natalia Solián.... A los colegas no mencionados, compañeros escenógrafos; a los profesores que me apoyaron 3 para realizar el viaje a Francia: Evelia Kochen, Ricardo Ramírez Carnero, David Olguín, Gabriela Pérez Negrete, Emma Cecilia Delgado, Elisa Mass, ¡y tantos más! ¡Gracias! Al Instituto Veracruzano de la Cultura (IVEC); a Antonio Bonilla por sus atenciones y confiabilidad inmensa. Ellos me ayudaron en el primer viaje a Francia en 2015. Agradezco a mi madrina en París: Laura Fuentes Matus, quien me instó a ¨cantar los sueños¨ y superar las frustraciones. A Enrique Pardo y Linda Wise, por recibirme con mucho afecto y orientar mi búsqueda. A los compañeros en los aprendizajes de la voz, personas esenciales en los procesos, algunos ya profesores en la materia: Brenda Coello, Sergio Carazo, Luz Adriana, Eloísa Zapata, León Pablo, Ana Luisa Paredes, Mónica Ramírez, Geovanna Moo, Alfonso Muf, Adriana Portillo, Fátima Volkoviskii, Jéssika Gámez, Nina Lerougehomme, Amy Rome, Érika HM, Joanna Kaczmarek, Marit Lundesgaard, Soesja Toehpah, Stella Cerioni, Claudine Olivier…A todos los compañeros restantes, testigos de mi proceso vocal, muchas gracias. Agradezco a los compañeros de la Maestría en Artes Escénicas por compartir las reflexiones, disentir creativamente, ser punto de referencia para nuevas búsquedas, mostrar sinceridad en sus opiniones, mantener vivo el deseo por investigar, colaborar, y confiar en el presente proyecto. Gracias: Wendoline Robles, Marysol Cordurier, Rayénari Martínez, Julied Zapata, Levira Leucona, Saúl Rivas, Claudia Rivera, Daniel Gutiérrez, Eduardo Guardado y Verónica Alanís. También agradezco a las personas en Xalapa que fueron oídos y voces que acompañaron este proyecto en distintas modalidades: Ángeles Jezabel, Citlalli Rojo, Sarah Calderón, Alejandra de León, Nathalie, Stéphane, Elizabeth Valdez, Manuel Velázquez, Estela Lucio, Julio Teatro, y muchos más. Agradezco a Candileja AC, por la ayuda en la consulta de materiales. A los que colaboraron directamente en el apoyo de la búsqueda de información, gestión de entrevistas, materiales bibliográficos, gracias: Jorge Dubatti, Olivia Martínez (Centro Cultual ¨Los Talleres¨), Clara Silber, Paul Silber, Nuria Inglada (CAIRH), Elizabeth Zárate (CEUVOZ), y Julie Ritch (Kristin Linklater Voice Centre). A todos los entrevistados, generosos en compartir sus vivencias, archivos personales y por confiar en el presente proyecto: Myrna Vargas, Indira Pensado, Carmen Mastache, Miguel Alonso Gutiérrez, Hebe Rosell, Sarmen Almond, Tareke Ortiz, Susana Frank, Aline Menassé, Jorge Udave y Tania González Jordán. 4 Mi enorme y eterno agradecimiento a mis padres, leales a mi proyecto de vida, alientos en las búsquedas creativas, soporte en las caídas, y siempre voz llena de ideas a todo lo que les comparto. Gracias mamá y papá: Milagros Sánchez Pou y Raúl Albarrán Hernández, infinitas gracias a ambos. A sus compañeros de vida también agradezco por ser voz complementaria y apoyo en sus decisiones. A mi hermana Primavera Albarrán, por confiar y mirarme con sus ojos llenos de esperanza, siempre pese a las adversidades. A la familia grande y diversa con tantas voces; mis abuelos María Eugenia y Román Lagunes. Mis tíos Fernando, Teresa, Rosa María, Miguel, gracias por sus manos y oídos en los momentos que más se les ha necesitado. A mis primos Silvia, Jonathan, Ixchel, Julio, gracias por sus ánimos. A mi amiga-hermana Brenda Olmos, por su confianza plena. A mis estudiantes-colegas de voz; pasados y presentes. Gracias por confiar, cuestionar, enriquecer y ser parte fundamental de los procesos de enseñanza-aprendizaje que alimentan la profesionalización en el área. A los lugares donde se me ha permitido impartir clases de voz, que fueron semillero de ideas y práctica de algunos conceptos que aquí se refieren: el Centro Cultural de la Diversidad, FLAVIA galería, Centro Veracruzano de las Artes ¨Hugo Argüelles¨, Escuela Nacional de Arte Teatral, Facultad de Ciencias y Técnicas de la Comunicación (UV). Agradezco actualmente al Instituto de Artes de la Universidad Autónoma del Estado de Hidalgo (UAEH), y la Facultad de Teatro de la UV, por recibirme en sus aulas para impartir clases de voz. En la UAEH me acerqué debido a este proyecto de tesis, dado que en su historia, la resonancia de Roy Hart también se encuentra presente.1 Y a los que faltan; esas voces espectrales, muchas gracias. 1 Indira Pensado y Myrna Vargas fueron parte del equipo fundador de la Licenciatura en Arte Dramático en 2003. A raíz del rediseño del plan de estudios en 2016, cambió de nombre a Licenciatura en Teatro. Me acerqué a sus instalaciones en verano de 2018 cuando entrevisté a Vargas. Desde que comencé a impartir clases en sus aulas, me percaté de la apertura en la enseñanza vocal que se corrobora en sus planes de estudio, los cuales, tienen una consciencia integral de la voz ligada a la creatividad y al movimiento corporal. 5 Índice Introducción………………………………………………………………………………..9 Capítulo 1.
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