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  1. Manuela Infante (1980) [1] es una dramaturga, directora, actriz y músico chilena. Fue fundadora de la compañía Teatro de Chile. Ha sido reconocida con distintos premios, entre ellos el premio Altazor en las categorías de dramaturgia y dirección por su obra Narciso el año 2006. [1]

  2. Manuela Infante is a Chilean playwright, director, screen writer and musician. Having earned a BA in Theatre Studies, and an MA in Cultural Analysis at the University of Amsterdam, Manuela Infante is well known for offering scenic articulations of complex theoretical issues.

  3. Manuela Infante, como directora y dramaturga, ha montando con la compañía Teatro de Chile, además de Prat, Juana y Cristo, las obras Narciso (2005), Rey Planta (2006) y Ernesto (2010). Con Narciso obtuvo el premio Altazor del año 2006 en las categorías de dramaturgia y dirección.

  4. May 17, 2019 · Estado Vegetal (Vegetative State) by Chilean theatre artist Manuela Infante explores how plant intelligence could change human perspectives. Drawing on plant neurobiology and plant philosophy, it proposes that the recognition of a valid “other” in plants is also the beginning of recognizing that vegetal other within us.

  5. In How to Turn to Stone, stones, as 'non-living' things, are models for a different kind of resistance. Manuela Infante brings pieces of eroded stories together. The fragments become landscapes and she stacks those landscapes like geological rock layers – using looping and sound landscaping.

  6. La dramaturga Manuela Infante, en entrevista con la escritora Alejandra Costamagna, habla del trasfondo ético y filosófico de su trabajo más reciente, y, en ...

    • 10 min
    • 5.2K
    • Centro para las Humanidades UDP
  7. Jun 1, 2020 · Infante and McLaughlin discuss the performative techniques of Estado Vegetal that compose such hope in four parts: vegetable beginnings through object-oriented ontology, the branching structure of Infante’s play, the actants that punctuate and even orchestrate the action, and the existential notion that the theatre was never human.