{"id":15100,"date":"2018-03-09T09:02:07","date_gmt":"2018-03-09T09:02:07","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/aproximaciones-a-dansa-valenciana\/"},"modified":"2018-03-09T09:02:07","modified_gmt":"2018-03-09T09:02:07","slug":"aproximaciones-a-dansa-valenciana","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/aproximaciones-a-dansa-valenciana\/","title":{"rendered":"Aproximaciones a dansa Valenciana"},"content":{"rendered":"<h2>Tesis doctoral de <strong> M. Carmen Gimenez Morte <\/strong><\/h2>\n<p>El objetivo principal de esta tesis doctoral es abrir caminos de investigaci\u00f3n en el hasta ahora poco explorado mundo de la danza e intentar resolver la pregunta \u00c2\u00bfqu\u00e9 es la danza?. Los diez a\u00f1os del festival dansa Valenciana (1988-1997), dedicados a la danza contempor\u00e1nea nacional, son el objeto de estudio desde el que se elabora una propuesta de representaci\u00f3n de la estructura de la pieza de danza, un modelo de an\u00e1lisis coreogr\u00e1fico, concretamente, de la puesta en escena, que facilitase la comprensi\u00f3n de la coreograf\u00eda.  establecer las caracter\u00edsticas de la danza contempor\u00e1nea espa\u00f1ola a trav\u00e9s de diversos criterios. Una vez construido este modelo de an\u00e1lisis el siguiente objetivo fue comprobar su utilidad del con piezas clave historia de la danza, prestando especial atenci\u00f3n a la danza del siglo xx.  elaborar la ficha art\u00edstica y t\u00e9cnica de todos los espect\u00e1culos y recopilar el dossier de prensa de los diez a\u00f1os del festival para comprender, a trav\u00e9s de la teor\u00eda de la comunicaci\u00f3n, la relaci\u00f3n entre p\u00fablico y pieza de danza.  conclusiones  el tiempo es uno de los primeros factores que nos ayudan a realizar la estructuraci\u00f3n de la obra coreogr\u00e1fica. As\u00ed, aparecen tres clases de piezas coreogr\u00e1ficas seg\u00fan su duraci\u00f3n: obras cortas, medianas o largas. en cuanto a la composici\u00f3n, se puden diferenciar dos estructuras considerando los cambios en la iluminaci\u00f3n, en el n\u00famero de bailarinas y en la m\u00fasica, como fronteras divisorias m\u00e1s o menos flexibles. A rasgos generales estas dos estructuras compositivas ser\u00edan: divisi\u00f3n en tres actos o escenas, o 1 sola escena.  no hay una relaci\u00f3n directa entre la estructura o composici\u00f3n de la pieza y su duraci\u00f3n temporal, se repiten los dos esquemas citados.  la danza contempor\u00e1nea espa\u00f1ola tiene sus propias caracter\u00edsticas, pues no hay diferencias estructurales ni temporales al considerar criterios como la autor\u00eda por g\u00e9nero, pertenencia a una comunidad<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Aproximaciones a dansa Valenciana<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Aproximaciones a dansa Valenciana <\/li>\n<li><strong>Autor:<\/strong>\u00a0 M. Carmen Gimenez Morte <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Universitat de val\u00e9ncia (estudi general)<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 14\/01\/2002<\/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> Beguiristain Alcorta M. Teresa<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: rom\u00ed\u00a0 De la calle de la calle <\/li>\n<li>enrique Gaston sanz (vocal)<\/li>\n<li> De soto arandiga ram\u00f3n (vocal)<\/li>\n<li>herminia Garc\u00eda ruso (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de M. Carmen Gimenez Morte El objetivo principal de esta tesis doctoral es abrir caminos de investigaci\u00f3n en [&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":[147,4510,1111],"tags":[16841,48328,15017,34981,48327,16851],"class_list":["post-15100","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-estetica-de-las-bellas-artes","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-beguiristain-alcorta-m-teresa","tag-de-soto-arandiga-ramon","tag-enrique-gaston-sanz","tag-herminia-garcia-ruso","tag-m-carmen-gimenez-morte","tag-romi-de-la-calle-de-la-calle"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/15100","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=15100"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/15100\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=15100"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=15100"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=15100"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}