{"id":1534,"date":"1994-01-01T00:00:00","date_gmt":"1994-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1994\/01\/01\/el-teatro-de-lenguas-romanicas-extranjeras-en-madrid-1918-1936\/"},"modified":"1994-01-01T00:00:00","modified_gmt":"1994-01-01T00:00:00","slug":"el-teatro-de-lenguas-romanicas-extranjeras-en-madrid-1918-1936","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/el-teatro-de-lenguas-romanicas-extranjeras-en-madrid-1918-1936\/","title":{"rendered":"El teatro de lenguas romanicas extranjeras en Madrid (1918-1936)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda no Martin Rodriguez <\/strong><\/h2>\n<p>Este trabajo versa sobre la presencia de obras y compa\u00f1ias dramaticas de lengua francesa, italiana y portuguesa en los escenarios de Madrid entre 1918 y 1936.  se estudia la recepcion critica de las piezas que se convirtieron en exitos comerciales y de todas aquellas que han ingresado en la historia del teatro en sus paises respectivos, desde clasicos como moliere o goldoni hasta los dramaturgos que se estaban distinguiendo en la renovacion del teatro (luigi pirandello, jean giraudoux, fernand crommelynck, etc.). Se ofrece asi un panorama amplio de que y como se conocio en Madrid una parte fundamental de la escena europea, adecuadamente contextualizado: se describen los estrenos e indirectamente las condiciones de representacion; se estudian las adaptaciones y se aporta, en suma, un caudal de referencias bibliograficas que da la medida del gran interes espa\u00f1ol por el acervo teatral extranjero, especialmente por las manifestaciones llamadas de vanguardia, y sienta bases seguras para futuras investigaciones de literatura comparada.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El teatro de lenguas romanicas extranjeras en Madrid (1918-1936)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El teatro de lenguas romanicas extranjeras en Madrid (1918-1936) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda no Martin Rodriguez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1994<\/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>Mar\u00eda Francisca Vilches De Frutos<\/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>Jos\u00e9 Antonio Perez Bowie (vocal)<\/li>\n<li>Dru Dougherty Kilpatrick (vocal)<\/li>\n<li>Jes\u00fas Rubio Jim\u00e9nez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda no Martin Rodriguez Este trabajo versa sobre la presencia de obras y compa\u00f1ias dramaticas de lengua [&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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