{"id":114773,"date":"2018-03-11T10:42:56","date_gmt":"2018-03-11T10:42:56","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/enfrentamiento-y-lances-de-armas-en-el-teatro-del-siglo-de-oro\/"},"modified":"2018-03-11T10:42:56","modified_gmt":"2018-03-11T10:42:56","slug":"enfrentamiento-y-lances-de-armas-en-el-teatro-del-siglo-de-oro","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/enfrentamiento-y-lances-de-armas-en-el-teatro-del-siglo-de-oro\/","title":{"rendered":"Enfrentamiento y lances de armas en el teatro del siglo de oro"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Francisco Alberola Miralles <\/strong><\/h2>\n<p>Resumen de tesis (objetivos, metodolog\u00eda y resultados) hay un componente notable que da identidad a la comedia del siglo de oro: el empleo y juego de las armas en la resoluci\u00f3n del conflicto esc\u00e9nico. Con la presente tesis nos hemos propuesto investigar su inserci\u00f3n en el campo de la po\u00e9tica, as\u00ed como su imbricaci\u00f3n en la dramaturgia de tan extenso periodo. partimos para ello de una idea expresada con precisi\u00f3n en el pr\u00f3logo de la celestina, y que resume el concepto cardinal que nos ha servido de eje: el teatro que se escribi\u00f3 en el siglo de oro es un teatro de enfrentamiento, en el que abunda la resoluci\u00f3n de los conflictos mediante el empleo de las armas blancas.  para ello hemos estudiado y analizado obras de diversos autores, desde principios del siglo xv hasta finales del xvii. En cada una de esas lecturas se han encontrado situaciones conflictivas de confrontaci\u00f3n entre adversarios, y de algunas de ellas hemos creado un registro escrito que hemos llamado &apos;ficha de esgrima esc\u00e9nica&apos;.  objetivos.- destacar los numerosos lances de armas que pueblan el teatro \u00e1ureo. sacar a la luz y evidenciar la dial\u00e9ctica del enfrentamiento, aspecto no suficientemente valorado en la comedia \u00e1urea. relacionar el juego de las armas con el conflicto que provoca el enfrentamiento y con el modo estr\u00f3fico en el que se muestra cada una de las escenas de combate. tratar los distintos enfrentamientos y lances de armas desde la perspectiva y c\u00f3digo de la esgrima esc\u00e9nica. formalizar y contemplar el enfrentamiento esc\u00e9nico como algo necesario para el an\u00e1lisis dramat\u00fargico, la interpretaci\u00f3n, la puesta en escena y representaci\u00f3n del teatro del siglo de oro. como es l\u00f3gico, hemos partido de una labor preparatoria, relacionada siempre con las fuentes de la investigaci\u00f3n, a la que hemos aplicado una metodolog\u00eda determinada, basada en elementos comparativos (analizando), descriptivos (exponiendo) y normativos (valorando). Esta tarea, tanto sincr\u00f3nica como diacr\u00f3nica, ha estado integrada: desde la te\u00f3rica: \t. Por la lectura de textos dram\u00e1ticos, ensayos y compendios cr\u00edticos de estudiosos del teatro del siglo de oro. . Publicaciones y art\u00edculos sobre esgrima esc\u00e9nica y teatro del siglo de oro. y desde la pr\u00e1ctica: . Creaci\u00f3n de coreograf\u00edas de armas para compa\u00f1\u00edas profesionales de teatro. . Puesta en escena de obras de teatro y montajes esc\u00e9nicos en el aula. . Impartici\u00f3n de talleres de esgrima esc\u00e9nica y jornadas tem\u00e1ticas en torno a la comedia \u00e1urea y las armas. \t. Asistencia a congresos, festivales, y participaci\u00f3n en cursos especializados de esgrima esc\u00e9nica.  resultados.- 1. Se ha conseguido citar, se\u00f1alar y catalogar la idea del enfrentamiento y resoluci\u00f3n del conflicto mediante el empleo de las armas como un componente m\u00e1s, ineludible, en la producci\u00f3n y estudio de las artes esc\u00e9nicas. As\u00ed, se han creado las siguientes figuras de enfrentamiento esc\u00e9nico: combate singular, combate grupal, mon\u00f3logo de armas y cata individual. De igual manera sabemos que hay enfrentamientos que llamamos normales (a contra b) y otros que llamamos irregulares; y que la irregularidad puede ser por el conflicto, pero tambi\u00e9n por la situaci\u00f3n, el uso de las armas, los personajes, etc. 2. Se ha establecido que todo enfrentamiento podemos diseccionarlo en tres partes: encuentro de personajes, cuerpo central y desenlace; y que \u00e9ste pude ser con herida o sin herida (abandono, tablas, rendici\u00f3n, reconocimiento de adversarios, etc.). 3. Se ha creado un modo de notaci\u00f3n, diferenciando el binomio org\u00e1nico, la secuencia de armas y la frase de armas; y tambi\u00e9n un modo de creaci\u00f3n coreogr\u00e1fica de escena de armas. 4. Se ha creado un m\u00e9todo de ense\u00f1anza aprendizaje esc\u00e9nico que contempla el juego de las armas y la expresividad corporal de modo ambidiestro para el int\u00e9rprete que empu\u00f1a, con la pretensi\u00f3n de consolidar la resoluci\u00f3n del conflicto dram\u00e1tico dentro de las artes esc\u00e9nicas. 5. Se ha comprobado que los personajes que combaten son de toda edad y condici\u00f3n, y que lo hacen tanto con el verso de arte menor como el de arte mayor; y que el verso m\u00e1s usado es el octos\u00edlabo (redondilla y romance) y el endecas\u00edlabo (la octava real). 6. Sabemos que un mismo conflicto puede ser expresado seg\u00fan qu\u00e9 autor en distintos metros y estrofas; y que a\u00fan siendo lo normal que una escena de armas se desarrolle en un solo metro y estrofa, existen otras en las que podemos encontrar hasta dos y tres variantes. 7. Se ha creado una terminolog\u00eda que ayude a entender la disciplina de la esgrima esc\u00e9nica, clarificando y unificando conceptos y criterios. 8. Se ha logrado que la indagaci\u00f3n realizada sea un est\u00edmulo que ha permitido abrir nuevas perspectivas hacia otras investigaciones y temas factibles de ser explorados. la tesis est\u00e1 estructurada en tres partes, interrelacionadas y complementarias. La primera, titulada el siglo de oro, la comedia y las armas, es un recorrido a trav\u00e9s de los textos, tanto dram\u00e1ticos como cr\u00edticos, y de la preceptiva literaria, la cr\u00edtica y el ensayo \u00e1ureo de entonces y ahora. La segunda, cuyo t\u00edtulo es modo de esgrimir los aceros en las artes esc\u00e9nicas, est\u00e1 basada enteramente en la experiencia personal y profesional, y trata de codificar tanto la ense\u00f1anza como el aprendizaje de esta singular materia o disciplina, haci\u00e9ndola consecuente con el manual de habilidades y compromisos que el int\u00e9rprete, el director de escena y el creador del siglo xxi deben conocer. La tercera parte es m\u00e1s bien un conjunto de anexos, que ampl\u00edan y completan desde la pr\u00e1ctica esc\u00e9nica las nociones antes desarrolladas. En el anexo i se exponen casi un centenar de escenas de combate, en el que se muestran textos, conflictos, armas, desenlaces, peripecias, modos estr\u00f3ficos, tipos de combate, situaciones, personajes\u00c2\u00bf en el anexo ii hemos hecho referencia a la relaci\u00f3n entre el conflicto y el modo estr\u00f3fico y el verso empleados. Para el anexo iii se han a\u00f1adido, a modo de ejemplo, algunas propuestas coreogr\u00e1ficas, informaci\u00f3n espec\u00edfica sobre el movimiento del arma y sobre el combate esc\u00e9nico entre las partes enfrentadas. Para ello, hemos buscado el apoyo y la opini\u00f3n de los maestros sobre el teatro, la esgrima de escena y la formaci\u00f3n del int\u00e9rprete. Por \u00faltimo, junto a la bibliograf\u00eda, hemos dispuesto un glosario en el que se pueden consultar t\u00e9rminos, expresiones y vocabulario concerniente a la esgrima esc\u00e9nica y al teatro. tambi\u00e9n ha formado parte de la investigaci\u00f3n las clases regulares como profesor de esgrima esc\u00e9nica en la esad de murcia. summary of thesis (objectives, methodology and results) there is a notable component that gives identity to the comedy of the golden age: employment and weapons play in resolving the conflict stage. With this thesis we intend to investigate its insertion in the field of poetry, as well as its integration into the drama of such extended period. we start from an idea to do so accurately expressed in the preface of la celestina, and sum up the core concept that has served us axis: the theater that was written in the golden age is a theater of confrontation, which abounds resolution of conflicts through the use of weapons. we have studied and analyzed works of various authors, from the early fifteenth to the late seventeenth century. In each of those readings found conflicting situations of confrontation between adversaries, and some of them we created a written record we have called &apos;scenic fencing sheet&apos;.  objectives. &#8211; 1. Highlighting the many sets of weapons that populate the golden age theater. 2. Uncovering and demonstrate the dialectic of confrontation, something not valuable enough golden comedy. 3. Relate game with weapons that causes conflict and confrontation strophic mode which shows each of the combat scenes. 4. Trying different sets of weapons fighting and from the perspective and scenic fencing code. 5. Formalize and watch the confrontation stage as necessary for dramaturgical analysis, interpretation, staging and representation of golden age theater  naturally, we started with preparatory work, always related research sources, to which we applied a specific methodology, based on comparative elements (analyzing), descriptive (exposing) and normative (valuing). This task, both synchronic and diachronic, has been integrated:  from the theoretical: . By reading dramatic texts, critical essays and scholarly compendia theater of the golden age . Publications and articles scenic fencing and theater of the golden age and from the practice: . Creating weapons choreography for professional theater companies. . Staging plays and stage productions in the classroom. . Delivery of workshops and thematic sessions scenic fencing around the golden comedy and weapons. . Attendance at conferences, festivals, and participation in stage fencing specialized courses.  results. &#8211; 1. Quote has been achieved, identify and catalog the idea of confrontation and conflict resolution through the use of weapons as a component, inescapable in the production and study of the arts. Thus, we have created the following figures of confrontation stage: single combat, combat group, monologue weapons and individual tasting. Similarly, we know that there is fighting we call normal (a versus b) and others we call irregular, and that the irregularity may be due to the conflict, but also by the situation, the use of weapons, characters, etc.. 2. It is established that any confrontation can dissect into three parts: gathering of characters, main body and end, and that he could be with or without wound wound (abandonment, tables, accountability, recognition of opponents, etc..). 3. It has created a way of notation, differentiating organic pairing, the sequence of the phrase weapons and armor, and also a way of creating weapons choreographic scene. 4. It has created a method of learning which provides scenic game weapons and body expressiveness ambidextrous so the interpreter who holds, with the aim of consolidating the dramatic conflict resolution within the performing arts. 5. It was found that the characters are fighting every age and condition, and they do so with verse minor art as high art, and that the verse most often used is the octosyllabic (quatrain and romance) and the pentameter ( real eighth). 6. We know that the same conflict can be expressed as which author in different meters and stanzas, and still being normal weapons that scene takes place in a single meter and stanza, there are others where we can find even twice or three variants. 7. It has created a terminology that helps us understand the discipline of fencing scenic, clarifying and unifying concepts and criteria. 8. It has made the inquiry made is a stimulus that has opened new perspectives for further research and feasible topics to be explored.  the thesis is divided into three parts, interrelated and complementary. The first, entitled the golden age, comedy and weapons, is a journey through the texts, both dramatic and critical and prescriptive literary criticism and golden test then and now. The second, titled wield mode steels in the performing arts, is based entirely on personal and professional experience, and tries to encode both the teaching and learning of this particular subject or discipline, making it consistent with the manual skills and commitments to the interpreter, the stage director and the creator of the xxi century must know. The third part is rather a set of annexes, which extend and complete from the practice stage developed notions before. Annex i sets out nearly a hundred combat scenes, which show texts, conflicts, weapons, outcomes, adventures, strophic modes, match types, situations, characters &#8230; In annex ii we have referred to the relationship between conflict and how employees strophic and verse. For annex iii have been added, for example, choreographic proposals, specific information about the movement of the weapon and the stage combat between the opposing sides. To this end, we have sought the support and feedback from teachers about the theater, fencing scene and interpreter training. Finally, next to the bibliography, we have provided a glossary in which terms are available, expressions and vocabulary concerning fencing and theater stage. he has also been part of the regular classes as research professor at the esad scenic fencing of murcia.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Enfrentamiento y lances de armas en el teatro del siglo de oro<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Enfrentamiento y lances de armas en el teatro del siglo de oro <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Francisco Alberola Miralles <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Murcia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 18\/10\/2013<\/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>Cesar Oliva Olivares<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francisco Florit dur\u00e1n <\/li>\n<li>Mar\u00eda  del carmen Hernandez valcarcel (vocal)<\/li>\n<li>Antonio Tordera s\u00e1ez (vocal)<\/li>\n<li>Javier Huerta calvo (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Francisco Alberola Miralles Resumen de tesis (objetivos, metodolog\u00eda y resultados) hay un componente notable que da identidad 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