{"id":17354,"date":"2002-11-06T00:00:00","date_gmt":"2002-11-06T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-renovacion-del-teatro-comercial-en-la-segunda-republica-cipriano-de-rivas-cherif-director-de-escena-1930-1936\/"},"modified":"2002-11-06T00:00:00","modified_gmt":"2002-11-06T00:00:00","slug":"la-renovacion-del-teatro-comercial-en-la-segunda-republica-cipriano-de-rivas-cherif-director-de-escena-1930-1936","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-renovacion-del-teatro-comercial-en-la-segunda-republica-cipriano-de-rivas-cherif-director-de-escena-1930-1936\/","title":{"rendered":"La renovaci\u00f3n del teatro comercial en la segunda rep\u00fablica: cipriano de rivas cherif, director de escena (1930-1936)"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Gil Fombellida M. Carmen <\/strong><\/h2>\n<p>Centrando la investigaci\u00f3n en el estudio detallado del trabajo de cipriano de rivas cherif en el teatro profesional, sobre todo como director de escena de la compa\u00f1\u00eda de margarita xirgu, el objetivo de esta tesis ha sido demostrar sus esfuerzos por dignificar y cambiar la situaci\u00f3n de la escena comercial espa\u00f1ola de los a\u00f1os veinte y treinta y su constante inquietud innovadora, llevando a los escenarios de las grandes salas un teatro de calidad que sirviera de base para la definitiva creaci\u00f3n de un teatro dram\u00e1tico nacional.  con esta finalidad, enfocada a destacar las aportaciones de rivas a los escenarios de preguerra, se ha descrito la trayectoria de cipriano de rivas cherif como director de escena en el primer tercio de siglo, su relaci\u00f3n con autores y grupos teatrales vinculados a las vanguardias, sus primeras experiencias en el teatro comercial y, como tema central de esta tesis, su labor como director art\u00edstico y asesor al frente de la compa\u00f1\u00eda de margarita xirgu en el teatro espa\u00f1ol de Madrid, desde 1930 a 1935, sin dejar de tratar asimismo otras actividades realizadas en la misma \u00e9poca.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La renovaci\u00f3n del teatro comercial en la segunda rep\u00fablica: cipriano de rivas cherif, director de escena (1930-1936)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La renovaci\u00f3n del teatro comercial en la segunda rep\u00fablica: cipriano de rivas cherif, director de escena (1930-1936) <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Gil Fombellida M. Carmen <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 11\/06\/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>Jos\u00e9 Cipriano Paulino Ayuso<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 Mar\u00eda D\u00edez borque <\/li>\n<li>ricardo Domenech yvorra (vocal)<\/li>\n<li>Manuel Aznar soler (vocal)<\/li>\n<li> Ascunce arrieta Jos\u00e9 angel (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Gil Fombellida M. Carmen Centrando la investigaci\u00f3n en el estudio detallado del trabajo de cipriano de rivas [&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":[148,147,1110,1111,628],"tags":[7447,54389,6371,5048,13642,54390],"class_list":["post-17354","post","type-post","status-publish","format-standard","hentry","category-analisis-literario","category-ciencias-de-las-artes-y-las-letras","category-teatro","category-teoria-analisis-y-critica-de-las-bellas-artes","category-teoria-analisis-y-critica-literarios","tag-ascunce-arrieta-jose-angel","tag-gil-fombellida-m-carmen","tag-jose-cipriano-paulino-ayuso","tag-jose-maria-diez-borque","tag-manuel-aznar-soler","tag-ricardo-domenech-yvorra"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/17354","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=17354"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/17354\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=17354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=17354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=17354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}