{"id":129001,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-dibujo-como-instrumento-coreografico-del-manuscrito-de-cervera-al-laban-computer\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"el-dibujo-como-instrumento-coreografico-del-manuscrito-de-cervera-al-laban-computer","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/el-dibujo-como-instrumento-coreografico-del-manuscrito-de-cervera-al-laban-computer\/","title":{"rendered":"El dibujo como instrumento coreografico. del manuscrito de cervera al laban computer."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Catalina Ruiz Molla <\/strong><\/h2>\n<p>El centro argumental, describe el constante reto que plantea la representacion cinetica, en el campo coreografico. A traves, del seguimiento de bibliografia de caracter inedito, documentacion de creaciones propias del dise\u00f1o coreografico, se ha elaborado una historia de la danza, desde el primer documento hallado, escrito. En una segunda parte, se ha elaborado un repado a traves de aquellos mas significativos, estudiando, paso a paso sus codigos de representacion, su morfolog\u00eda, el paralelismo con sus referentes y sus posibilidades de comunicacion.  asi pues, se han examinado, todos y cada uno de los hallazgos coreologicos, indagando, no solo en su capacidad representativa, sino en su capacidad de creacion, como instrumento de dise\u00f1o, suponiendo asi, no solo testigo, sino elemento imprescindible de creacion de un presente, un pasado, un futuro, y una historia.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El dibujo como instrumento coreografico. del manuscrito de cervera al laban computer.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El dibujo como instrumento coreografico. del manuscrito de cervera al laban computer. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Catalina Ruiz Molla <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/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>Francisco Echauz Buisan<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Manuel Parralo Dorado <\/li>\n<li>Francisco Ba\u00f1os Martos (vocal)<\/li>\n<li>\u00e1lvaro Paricio Latasa (vocal)<\/li>\n<li>Francisco Crespo Gimenez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Catalina Ruiz Molla El centro argumental, describe el constante reto que plantea la representacion cinetica, en el [&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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