{"id":11925,"date":"2001-04-07T00:00:00","date_gmt":"2001-04-07T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-teatro-del-absurdo-en-cuba-1948-1968\/"},"modified":"2001-04-07T00:00:00","modified_gmt":"2001-04-07T00:00:00","slug":"el-teatro-del-absurdo-en-cuba-1948-1968","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/el-teatro-del-absurdo-en-cuba-1948-1968\/","title":{"rendered":"El teatro del absurdo en cuba 1948-1968"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Ricardo Lobato Morchon <\/strong><\/h2>\n<p>Se estudian en este trabajo un cierto n\u00famero de manifestaciones dram\u00e1ticas de vanguardia m\u00e1s o menos vinculadas al teatro del absurdo -alrededor de una treintena de obras de virgilio pi\u00f1era, anton arrufat, jos\u00e9 triana, ezequiel vieta, gloria parrado o nicolas dorr- que fueron publicadas, estrenadas o, al menos, concebidas en cuba entre 1948 y 1968, en los a\u00f1os en los que esta form\u00fala dram\u00e1tica se impon\u00eda en los escenarios europeos. Despu\u00e9s de definir el paradigma del llamado \u00abteatro del absurdo\u00bb a partir no s\u00f3lo de los textos can\u00f3nicos de beckett o ionesco, sino de un n\u00famero lo m\u00e1s amplio posible de obras tanto europeas como hispanoamericanas, se analizan e interpretan los drams del absurdo cubanos refiriendolos a la red de textos filosoficos y literarios que conforman su contexto de producci\u00f3n e identificando los procedimientos y motivos de reflexi\u00f3n m\u00e1s transitados.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El teatro del absurdo en cuba 1948-1968<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El teatro del absurdo en cuba 1948-1968 <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Ricardo Lobato Morchon <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 04\/07\/2001<\/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> Sainz De Medrano Arce Luis<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 cipriano Paulino ayuso <\/li>\n<li> Garc\u00eda ramos Juan  Manuel (vocal)<\/li>\n<li>teodosio Fernandez rodriguez (vocal)<\/li>\n<li>Jos\u00e9 Carlos Gonzalez boixo (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Ricardo Lobato Morchon Se estudian en este trabajo un cierto n\u00famero de manifestaciones dram\u00e1ticas de vanguardia m\u00e1s [&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 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