Conocimiento de la pintura abstracta de Kandinsky, Pollock y Rothko, a través de propuestas metodológicas educativas en torno al Teatro de la crueldad y el Teatro Físico

Abstract

This doctoral thesis is based on the following research question: Do exercises based on the Theater of Cruelty and the Physical Theater allow students to better understand and evaluate the artistic concepts of the abstract expressionist painting movement of the 20th century? This movement may lead to rejection due to the lack of didactic-practical actions in the educational field. Therefore, the main aim is proposed "to create through the dynamics of the Theatre of Cruelty and Physical Theatre a communicative channel with paintings of Vasili Kandinsky (1866-1944), Mark Rothko (1903 -1970) and Jackson Pollock (1912-1956). In turn, the following secondary aims emerge from this objective: to carry out a preliminary study on the origin of theatre and its evolution throughout history, around the subject of rite, primitive and physical theatre. Investigate the stage proposals of Antonin Artaud, implicit in his manifesto The Theatre of Cruelty. Examine Jacques Lecoq's theatrical pedagogy, collected in his book The Poetic Body. Inquire into the practice of the ritual in order to extract exercises and activities that complete the educational action of the students. Explore the relationship between colour and human emotions, through physical theatre, music and body sound. To work on abstract paintings, the relationship between expressive body and music, and, finally, to elaborate an educational proposal that allows its practical implementation in higher education, for future teachers and professors. For this, a documentary search of bibliographic sources on the origin of the theatre and its evolution has been performed. In addition the characteristics of abstract expressionist painting have also been taken into account. A qualitative, case study and action research methodology was used on a sample of 67 subjects, from the education degrees of the universities of Murcia (Spain) and Évora (Portugal), as well as the Academy of Fine Arts from Rome (Italy). With them a series of activities were carried out to provide an emotion, a movement, a sound and a melody to the colour. All of which translates into a code to reinterpret the proposed paintings. The conclusions obtained indicate that elements typical of physical theatre such as ritual, improvisation, body language and sound, as advocated by Antonin Artaud and Jacques Lecoq in their respective methodologies, can be extrapolated to the educational field as a pedagogical tool and serve to work on understanding abstract painting. In this way, students take an active role and can develop strategies with artistic meaning, increasing the interdisciplinarity and hybridization of contemporary arts.