{"id":133860,"date":"1997-01-01T00:00:00","date_gmt":"1997-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/teatro-de-vanguardia-en-espana-1912-1936\/"},"modified":"1997-01-01T00:00:00","modified_gmt":"1997-01-01T00:00:00","slug":"teatro-de-vanguardia-en-espana-1912-1936","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/linguistica\/teatro-de-vanguardia-en-espana-1912-1936\/","title":{"rendered":"Teatro de vanguardia en espa\u00f1a (1912-1936)."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Oca\u00f1a Barranco Antonio  Jorge <\/strong><\/h2>\n<p>La presente tesis es un estudio semiotico del teatro de vanguardia en espa\u00f1a anterior a la guerra civil. Se ha tomado un corpus de catorce obras, consideradas hasta hace poco como irrepresentables, de autores como garcia lorca, alberti, gomez de la serna, azorin, bergamin, max aub, unamuno, sanchez mejias. De todas ellas han sido analizados los personajes, los parametros espacio-temporales, el dialogo, la tematica, las tecnicas constructivas utilizadas y otros aspectos mas directamente relacionados con la fase espectacular, como la escenografia o la comunicacion no verbal. Queda demostrado que la creacion de estos textos partia de unos presupuestos completamente vanguardistas; que su fracaso no se debio a cuestiones tan discutibles como la falta de calidad, sino al contexto en que nacio; que todas ellas estan conectadas a los principales movimientos europeos que han contribuido a la renovacion del teatro contemporaneo; y, por ultimo, que las constantes coincidencias  halladas en el corpus lo dotan de una gran uniformidad.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Teatro de vanguardia en espa\u00f1a (1912-1936).<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Teatro de vanguardia en espa\u00f1a (1912-1936). <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Oca\u00f1a Barranco Antonio  Jorge <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Granada<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1997<\/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>Antonio S\u00e1nchez Trigueros<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio Gallego Morell <\/li>\n<li>Pilar Moraleda Garcia (vocal)<\/li>\n<li>Angel Berenguer Castellary (vocal)<\/li>\n<li>Manuel C\u00e1ceres S\u00e1nchez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Oca\u00f1a Barranco Antonio Jorge La presente tesis es un estudio semiotico del teatro de vanguardia en espa\u00f1a [&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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