<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0185-1276</journal-id>
<journal-title><![CDATA[Anales del Instituto de Investigaciones Estéticas]]></journal-title>
<abbrev-journal-title><![CDATA[An. Inst. Investig. Estét]]></abbrev-journal-title>
<issn>0185-1276</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0185-12762025000200265</article-id>
<article-id pub-id-type="doi">10.22201/iie.18703062e.2025.127.2923</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Encuentros entre culturas: los yanomami, teatro, representación y cotidianidad en tres documentales de Manuel de Pedro]]></article-title>
<article-title xml:lang="en"><![CDATA[Encounters Between Cultures: The Yanomamis, Representation and Everyday Life in Three Documentaries by Manuel de Pedro]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Azuaga]]></surname>
<given-names><![CDATA[Ricardo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Católica Andrés Bello  ]]></institution>
<addr-line><![CDATA[Caracas ]]></addr-line>
<country>Venezuela</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2025</year>
</pub-date>
<volume>47</volume>
<numero>127</numero>
<fpage>265</fpage>
<lpage>292</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0185-12762025000200265&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0185-12762025000200265&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0185-12762025000200265&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este trabajo parte de un análisis fílmico y cinematográfico de tres documentales de Manuel de Pedro que presentan elementos comunes, como la participación del Odin Teatret y los yanomami, o reflexiones sobre el teatro, su función social, el concepto de representación y sus usos como espectáculo o ceremonia cotidiana en los contextos del III Festival Internacional de Teatro de Caracas, del encuentro entre los daneses y los indígenas en el Amazonas venezolano y de la propia comunidad yanomami, según el caso. La síntesis e interpretación de lo analizado permiten reconocer las propuestas estilísticas y conceptuales planteadas por el realizador en cada película, así como establecer las relaciones y diferencias formales y temáticas entre los filmes y el modo como se va adaptando la visión sobre los diversos temas, dependiendo del contexto de producción y los acontecimientos registrados.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This paper takes as its starting point a film and cinematographic analysis of three documentaries directed by Manuel de Pedro that present common elements such as the participation of the Odin Teatret and the Yanomamis, or reflections on theater, its social function, the concept of representation and its uses as a spectacle or daily ceremony in the contexts of the Third International Theater Festival of Caracas, the encounter between the Danes and the indigenous people in the Venezuelan Amazon, and the Yanomami community itself, as the case may be. The analysis is followed by a synthesis and interpretation which facilitates recognition of the stylistic and conceptual proposals put forward by the director in each film. It also brings into focus the relationships and formal and thematic differences between the films and the way in which the author&#8217;s perception of the various themes evolves depending on the production context and the recorded events.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Estudios cinematográficos]]></kwd>
<kwd lng="es"><![CDATA[análisis fílmico y cinematográfico]]></kwd>
<kwd lng="es"><![CDATA[cine documental]]></kwd>
<kwd lng="es"><![CDATA[teatro]]></kwd>
<kwd lng="es"><![CDATA[representación]]></kwd>
<kwd lng="es"><![CDATA[rituales]]></kwd>
<kwd lng="es"><![CDATA[yanomami]]></kwd>
<kwd lng="en"><![CDATA[Film studies]]></kwd>
<kwd lng="en"><![CDATA[film and cinematographic analysis]]></kwd>
<kwd lng="en"><![CDATA[documentary film]]></kwd>
<kwd lng="en"><![CDATA[theatre]]></kwd>
<kwd lng="en"><![CDATA[representation]]></kwd>
<kwd lng="en"><![CDATA[rituals]]></kwd>
<kwd lng="en"><![CDATA[Yanomami]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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