| dc.description.abstract | The purpose of this study was to analyze the importance of the social memory of
street theater in the city of Quito from the point of view of several theaters, among
them Carlos Michelena, Sonia Flores, Marcelo Báez, among others. Popular actors
that nowadays maintain the coexistence of theater in public spaces. Therefore, this
research emphasizes the history and trajectory from its beginnings to the present,
allowing to revive the memory of popular theater in the spectator, with the purpose
of analyzing the historical facts and the trajectory as a social identity from the
theory of memory, the same that allowed to weave the past of the role of the
theatrical performer with the present. For this, the qualitative ethnographic method
was used to represent the conceptualizations of the theatrical camp field from the
verbal and non-verbal components, leading the research to analyze the posture of
the theatrical worker and its elements such as clothing, makeup, masks, among
others, components that have characterized the characters for years in the
theatrical field, and at the same time have allowed them to be recognized and
identified more easily by society. In addition, we worked from the participant
observation to have a better communication strategy with the theatrical artist at
the time of collecting the information. Finally, this research emphasized the
importance of the social memory of street theater that inhabits public spaces,
creating identity and recognition by the city, thus allowing the street theater to be
remembered in the mind of the spectator. | |
