Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

In this article, I analyze the expression holōn árchēs kaì dýnasteías (Pol. I. 3.11), which Polybius uses to describe Rome's universal rule. As a hypothesis, I propose that in this context dynasteía pursues two connected goals. First, it seeks to place the Roman Empire within the catalogue of Hellenistic empires. In other words, it is an exercise of cultural translation through which Rome can be equated to the Hellenistic states. Second, it aims at reaching the first goal without generating tensions with the Roman constitutional system which, unlike the Hellenistic empires, is a republic and not a monarchy.

Este trabajo reflexiona sobre la fiesta, entendiendo ésta, como una representación que hace inteligible lo existente más allá de la realidad. Tomando como modelo la fiesta banquete ofrecida por el condestable de Castilla a los archiduques de Austria, el domingo 20 de febrero de 1502, se hace evidente como el montaje desplegado, tuvo como justificación primordial la exposición velada de las esperanzas puestas en su futura reina por parte de la nobleza castellana. Así, el relato desarrollado en un contexto ideal y amoldado a la sensibilidad caballeresca, se pone en relación con los problemas de la Corona, sirviendo el festejo al condestable y su círculo para hacer pleito de homenaje a doña Juana, expresando de forma sutil la superioridad de la dama para subvertir una circunstancia crítica y recomponer de nuevo el espacio arcádico del jardín de amor.

Este artículo analiza la vertiente conceptual y plástica de los retratos post mortem efectuados por Gustav Klimt. Una labor que ejerce excepcionalmente, como otros pintores de la historia del arte, aunque el caso de este artista es destacado por abordarla desde el campo profesional al personal. En este aspecto, el presente texto pone de relieve los significativos trabajos realizados por Klimt, entre 1883 y 1912, tanto por encargos privados, como son los proyectos dedicados a Lott, Eitelberger, Natter o Munk; como por intereses íntimos y familiares, cuando registra a su hijo Otto Zimmerman, en 1902, en el lecho de muerte.

Two artists, a theater, and a controversial avant-garde play. The first one, Joaquín Torres García, managed to incorporate European artistic ideas and translate them into his own art, which was alien to schematic classifications. This is how he shaped the School of the South and gave life to Constructive Universalism. The second one, Francisco Paco Espínola, was one of the main Uruguayan storytellers of the 20th century. In this context, on May 23 1937, Espínola premiered the theatrical play La fuga en el espejo at the now-vanished Urquiza Theater, a piece linked to artistic vanguard. The purpose of this article is to examine the relationship between the arts of the period and their translation in the staging of the dramatic piece. To this end, the paper goes through the works of Torres García, the School of the South, and Espínola across their various artistic expressions: lectures, books, texts, and art associations. The conclusion is that all of them sought to search a balance between global and local art and translate it into a personal and individual expression with great moral impetus. The materialization of La fuga en el espejo plays with the dreamlike quality of the dialogues, the symbology of the scenography, fragmented time, a distance from the audience, and an open ending. It marked the beginning and the end of avant-garde theater in Uruguay in the 1930s.

On February 13th, 2022, at SoFi Stadium in Los Angeles, Super Bowl LVI took place and was watched by 208 million people. During halftime, a fifteen-minute musical performance was held in which the protagonist was one of the most stigmatized territories in the history of the United States: the city of Compton, Los Angeles County. For the first time in a Super Bowl, a stigmatized place, its architecture, its streets, and its rappers were made visible and shown to the world thanks to the artist and set designer Es Devlin. The objective of this research was to reveal the scenographic strategies designed and implemented by Es Devlin’s studio to transfer Compton’s idiosyncratic atmosphere and complex spatial dynamics to the stage. This was performed through both a comparative study of Devlin’s work and a series of maps, drawings, and analytical cartographies regarding the scenography built for the Super Bowl 2022.

This article investigates the compositional and operational aspects of architect Ettore Fagiuoli’s stage designs at the Arena di Verona during his extensive involvement as a scenographer (1913-1950). Fagiuoli’s pragmatic and careful approach stemmed from his broad vision, which considered the multiple problems presented by the amphitheatre when designing scenography. The architect did not clearly position himself within any specific artistic movement; he valued each work as a challenge in itself – aware of its complexity – and sought a resolution using a set of project tools gathered over many years. Through a chronological overview of his scenography, we identify the formal, compositional and technical stage-design tools used, as well as the evolution of architectural language, in light of the Arena di Verona’s characteristic aspects and the architectural relationship needed between the stage scenery and the amphitheatre.

Theatre and cinema are two forms of artistic expression that, in different ways, promote interaction between the audience and the play, involving visual, spatial and temporal aspects. The "fourth wall" is one of the recurring concepts when referring to the interaction between the audience and a play, which can also be extrapolated to the field of cinema. Based on this concept, the aim is to analyse how, regardless of the space that hosts a performance, a certain scenic conceptualisation makes it possible to qualify the existing separation and is capable of favouring the interaction between the audience and a theatrical play. In this article we propose to deal with a specific experience that aims to combine theatre and moving images: the work of the stage designer Josef Svoboda. First of all, the mechanisms devised by Sovoboda to incorporate moving images into the theatrical discourse will be described. Next, some of his stage designs will be analysed and redrawn, with particular emphasis on their spatial conditions. The aim is to show how, through the use of solid material work supported by movement, light and projected images, the psycho-plastic space proposed by Svoboda manages to merge space and time, thus attempting to blur the "fourth wall".

Neorealist Architecture: Aesthetics of Dwelling in Postwar Italy recorre una etapa crucial para el devenir de la arquitectura europea, la producción del programa estatal INA-CASA impulsada en Italia tras la segunda guerra mundial. Esta iniciativa, coordinada por Adalberto Libera, influiría en varias generaciones de artistas e intelectuales que configuran su espacio identitario en torno a la periferia y los anhelos de reconstrucción del país. En esa búsqueda de una nueva arquitectura social y de calidad, entre la modernidad y lo vernáculo, David Escudero desgrana los hilos que conectan cine y arquitectura, proponiendo un término inédito en la crítica disciplinar: la “arquitectura neorrealista”. Las conexiones interdisciplinares van más allá de la arquitectura como escenario de las películas de Pasolini, De Sica o Rossellini, para establecer unas dinámicas de creativas análogas en las que, a través de la fotografía, el dibujo o las axonometrías “habitadas”, se revela la situación de crudeza habitacional de la sociedad italiana a la vez que se ofrecen, a través de una nueva arquitectura, espacios de calidad capacitados para propiciar el encuentro vecinal y un futuro colectivo próspero.

The grid is the conceptual and formal support used as a paradigm of modernity in the plastic arts during the twentieth century, present avant la lettre in architecture, and an element of late incorporation to scenography in the conception of the scenic space, even though it is nourished by them. Given its scarce and sporadic presence on the stage in the last century, the article exposes the breath it acquires in its decline and the forms it adopts in the current century, mainly in the classical scenographic practice in the Italian-style theatre. Through a succinct selection of examples, and applying an analytical and comparative methodology, an examination and taxonomy of how the grid has been denoted in the scenic space and what it has connoted as a signifying system is provided. Text theatre, opera and dance are the artistic territories of the performing arts that have been explored to reveal the functional, plastic and significant aspects of the landscapes of geometric abstraction configured by the grid.

The itinerary followed by the theatre in the 20th century had the common denominator with other artistic fields of overcoming inherited conventions and its disciplinary limits. The intention, deeply rooted in the second half of this century, was to broaden its original conceptions, which led to states and adjectivisations of "expanded" and/or "performative", initially ground-breaking and today already established along with orthodoxy as paradigms of the current arts. The debates on what theatre, scenography or theatrical architecture are have led to progress on the path followed, but today they are an old constraint, not for that reason dispensable, in the face of the wide and diverse panorama of current artistic practices that try to reflect the complexity of the contemporary world of the digital era. This text reflects on the heritage and aims to contribute to the current debate by proposing a horizon of symbiotic collaboration between the arts, in their being "beyond themselves", to work on the symbolic form of the 21st century.