{"id":10905,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1996\/01\/01\/la-construccion-conceptual-de-la-expresion-corporal-en-la-teoria-teatral-del-siglo-xx\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"la-construccion-conceptual-de-la-expresion-corporal-en-la-teoria-teatral-del-siglo-xx","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-construccion-conceptual-de-la-expresion-corporal-en-la-teoria-teatral-del-siglo-xx\/","title":{"rendered":"La construccion conceptual de la expresion corporal en la teoria teatral del siglo xx."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Brozas Polo M. Paz <\/strong><\/h2>\n<p>En el seno de los discursos en torno al cuerpo y su expresividad se puede considerar la teoria teatral del siglo xx como uno de los principales espacios de gestacion del concepto actual de expresion corporal, como parte de un proceso de construccion multidisciplinar que se ha producido a lo largo del siglo gracias a la proliferacion de las ciencias humanas y al interes de las mismas en el cuerpo y en la expresion como objetos de estudio. Dicha teoria ofrece por una parte, un amplio panorama sobre los elementos mediadores de la comunicabilidad del actor y, especificamente sobre sus posibilidades corporales y por otra, radica en una parcela de la realidad en la que se utiliza el vocablo expresion corporal a partir del cual parece haberse extendido. La teoria teatral constituye ademas un ambito abierto a las interacciones con los otros campos de conocimiento, en el que se reproducen gran parte de las contradicciones y paradojas conceptuales generales y desde el que se ofrecen respuestas particulares de gran interes pedagogico.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La construccion conceptual de la expresion corporal en la teoria teatral del siglo xx.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La construccion conceptual de la expresion corporal en la teoria teatral del siglo xx. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Brozas Polo M. Paz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Le\u00f3n<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1996<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Joaquin Marban Roman<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Javier Gonz\u00e1lez Gallego <\/li>\n<li>Mercedes Vernetta Santana (vocal)<\/li>\n<li>Joan Fuster Matute (vocal)<\/li>\n<li>Francisco Flecha  Andr\u00e9s (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Brozas Polo M. Paz En el seno de los discursos en torno al cuerpo y su expresividad [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[147,4430,1110,1111],"tags":[36005,22583,9692,36007,36006,22446],"class_list":["post-10905","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-leon","category-teatro","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-brozas-polo-m-paz","tag-francisco-flecha-andres","tag-javier-gonzalez-gallego","tag-joan-fuster-matute","tag-joaquin-marban-roman","tag-mercedes-vernetta-santana"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/10905","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=10905"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/10905\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=10905"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=10905"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=10905"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}