PhD abstract (english)

Thesis abstract and essential references

This investigation is presented under the title: “POSTMODERNISM AND ITS SYMBOLS AT THE SCENE OF EVERYDAY: MATADERO MADRID, THEATRICAL STAGE OF CULTURE.” This thesis analyse the current context of cultural experience focusing especially on new cultural centres. The purpose of this work is to create a model of analysis of contemporary cultural practises based on a theatrical metaphor, using the microsociology of Erving Goffman and the theatre anthropology from Eugenio Barba. Following this multidisciplinary approach can be difficult for the researcher at the beginning. But after all, the researcher would get a clearer image of the bigger picture that would allow him to discover prospects of the investigation that otherwise would not be found. We are in a interstitial space. This multidisciplinary method imposes an initial limitation on the scope of the study through the preparation of the model of analysis of contemporary cultural practises. The problem is the lack of limits. Therefore we used a picture named “here you are” as a tool to sort and systematize what each disciplines can contribute to the vision of the object. Helping us in this way, to not miss any part of the process. The methodology we have used to get results is based on forms of qualitative research. First at all, we take the focus group to know the audience

 

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(spectators) reception of the cultural centres. Secondly, we employ in-depth interviews to cultural agents such as artists, curators or cultural managers. Finally, we use the content analysis in magazines and newspapers to get the impact of the cultural centres on media. Another important category is formed by the texts of Matadero Madrid website. Model categories correspond to the following elements of the daily life: city, citizens, postmodernism, culture and the symbiotic. Each one has its counterpart in the theatrical metaphor proposed: Stage, actor, director, text and daily life. These concepts have helped us to understand the way society lives culture nowadays. They have also allowed us to comprehend the place of the “players” in the cultural context. All these ideas let us place ourselves in an intermediate space. In relation with “players”, we must emphasize the importance of playfulness in current context of cultural experience. Two important aims for the development of the model are: Firstly, to build a radiography of postmodernism to explain the aspects of the present moment. Secondly, to explore the role of the contemporary audience, (a figure close to participatory and relational art). As mentioned above, we have used a model to analyze contemporary cultural practises that can be applied in cultural centres that are already opened, to improve their functioning, or in new spaces not yet opened. The thesis is divided in four parts. The first is the theoretical framework, composed of the microsociology of Erving Goffman and the theatre anthropology of Eugenio Barba as initial pillars of the research. After them, we

 

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establish some previous parameters for the categories of the model: citizens as actors and life as representation. The next step is a radiography of postmodernism, which takes all present elements (city, citizens, culture, postmodernism and the symbolic). The second part corresponds to methodology. We present a model of analysis of contemporary cultural practises. We can find in it: sources, data collection, qualitative methods and the Model charts. In addition we talk about the future of cultural models. The third part is the object: Matadero Madrid. We have introduced the space. After that we have offered a classification of the different centres within the Matadero Madrid enclosure through spatial typologies. To finalize, we present the first application of the model of analysis of contemporary cultural practise. The last part of the study is the conclusions of the thesis. Along with this, you can also find the references and bibliography, and the annexes of the study related to documentation of the research process, which can be useful when reading the thesis. Therefore, the main objective of this thesis is to analyze the current context of cultural experience, explaining the cultural processes and the present moment. One specific target is the study of Matadero Madrid as a contemporary centre of culture. This space has been chosen for three main reasons: 1. The spatial dimensions of the enclosure.

 

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2. Its pioneering work in the figure of cultural mediator in the visitor experience. 3. The leading role of the citizen and the transparency of its activities.

As a direct consequence of this main objective comes the second aim of the thesis which is the importance of the link between Theatre and the Social Sciences, which work as a beneficial symbiotic relationship between practice and theory, respectively. The result of the investigation has revealed the actual existence of new ways of understanding the cultural experience. The study concludes establishing the importance of culture in society. Nowadays, the relationship between the audience and the institutions as well as the relationship between artists with both of them takes place sporadically or intermittently. This hinders the heath of culture and its importance in the world is dethroned. Culture is essential to men and the development of a country. Today, more than ever, in the European context of economical recession, it is increasingly relevant the importance of the idea of culture as a way of helping us to not allow ourselves to become alienated. Moreover, to understand culture as a door to freedom.

 

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Essential references www.mataderomadrid.org (Matadero Madrid website, the thesis object) -ALLPORT, Gordon W.(1977) La personalidad. Su configuración y desarrollo. Barcelona: Ed. HERDER. -ARGYLE, MICHAEL (1984) Psicología del comportamiento interpersonal. 3ª Madrid: Alianza Editorial. -BAJTÍN, M. (1998) La cultura popular en la Edad Media y en el Renacimiento: el contexto de François Rebelais. Madrid: Alianza Editorial. -BARBA, E; SAVARESE, N. (2012) El arte secreto del actor. Diccionario de antropología teatral. Bilbao: Artezblai -BURKE, P. (2010) La cultura popular en la Europa Moderna. Madrid: Alianza Editorial. -GARCÍA LORCA, F. (1978) El público y Comedia Sin Título. Barcelona: Seix Barral. -GOFFMAN, E. (2004) La presentación de la persona en la vida cotidiana. Buenos Aires: Amorrortu.   -HUIZINGA, J. (2008) Homo ludens. Madrid: Alianza -LIPOVETSKY, G. (2000) La era del vacío. Ensayo sobre el individualismo contemporáneo. Barcelona: Anagrama. -PAVIS, P. (1983). Diccionario del teatro. Dramaturgia, estética y semiología. Barcelona: Paidós.

 

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-PICÓ, J. (1999) Cultura y Modernidad. Seducciones y desengaños de la cultura moderna. Madrid: Alianza. -PUELLES ROMERO, L. (2011) Mirar al que mira. Teoría estética y sujeto espectador. Madrid: Abada. -RANCIÈRE, J. (2010) El espectador emancipado. Castellón: Ellago Ediciones.

 

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