{"id":140155,"date":"2026-01-12T17:52:04","date_gmt":"2026-01-12T17:52:04","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-obra-dramatica-de-ramon-gomez-de-la-serna\/"},"modified":"2026-01-12T17:52:04","modified_gmt":"2026-01-12T17:52:04","slug":"la-obra-dramatica-de-ramon-gomez-de-la-serna","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-obra-dramatica-de-ramon-gomez-de-la-serna\/","title":{"rendered":"La obra dramatica de ramon gomez de la serna"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Carmen Herrero Vecino <\/strong><\/h2>\n<p>La tesis propone el estudio de la produccion dramatica de ramon gomez de la serna sobre la base de un analisis semiotico teatral. Se realiza una revision de la vida y obra ramoniana, su vinculacion con los literatos de su tiempo asi como su ideolog\u00eda politica. Partiendo de un extenso \u00abcorpus\u00bb se dibuja su teoria estetica teatra; y dadas las variantes que se derivan de las diversas ediciones, se establecen las claves para la edicion critica. Se efectua una revision de todas las consideraciones criticas que se han realizado sobre el teatro ramoniano; y en el caso de las piezas que fueron estrenadas se valora la recepcion que tuvieron segun la critica periodistica de la epoca.  finalmente, los aspectos sintacticos y semanticos sirven para valorar la adecuacion\/inadecuacion entre la teoria y practica del autor.  todos estos aspectos muestran la complejidad de un proyecto de renovacion teatral que parte del simbolismo y que, sin dejar esa carga va avanzando hacia la dramaturgia mas vanguardista con la que alcanza su objetivo de desteatralizar el escenario.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La obra dramatica de ramon gomez de la serna<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La obra dramatica de ramon gomez de la serna <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Carmen Herrero Vecino <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Valladolid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1992<\/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>Ricardo De La Fuente Ballesteros<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  De La Plaza Santiago Fco. Javier <\/li>\n<li>Mar\u00eda no De Paco (vocal)<\/li>\n<li>Francisco Javier Blasco Pascual (vocal)<\/li>\n<li>Emilio Palacios (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Carmen Herrero Vecino La tesis propone el estudio de la produccion dramatica de ramon gomez de la [&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":[147,1110,1111,12451],"tags":[254720,27903,254721,3574,17110,23564],"class_list":["post-140155","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-teatro","category-teoria-analisis-y-critica-de-las-bellas-artes","category-valladolid","tag-carmen-herrero-vecino","tag-de-la-plaza-santiago-fco-javier","tag-emilio-palacios","tag-francisco-javier-blasco-pascual","tag-maria-no-de-paco","tag-ricardo-de-la-fuente-ballesteros"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/140155","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=140155"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/140155\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=140155"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=140155"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=140155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}