{"id":1778,"date":"1994-01-01T00:00:00","date_gmt":"1994-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1994\/01\/01\/reconstruccion-escenografica-de-la-representacion-de-hado-y-divisa-de-leonido-y-marfisa-de-calderon-de-la-barca-dada-en-el-coliseo-del-buen-retiro-el-dia-3-de-marzo-de-1680\/"},"modified":"1994-01-01T00:00:00","modified_gmt":"1994-01-01T00:00:00","slug":"reconstruccion-escenografica-de-la-representacion-de-hado-y-divisa-de-leonido-y-marfisa-de-calderon-de-la-barca-dada-en-el-coliseo-del-buen-retiro-el-dia-3-de-marzo-de-1680","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/reconstruccion-escenografica-de-la-representacion-de-hado-y-divisa-de-leonido-y-marfisa-de-calderon-de-la-barca-dada-en-el-coliseo-del-buen-retiro-el-dia-3-de-marzo-de-1680\/","title":{"rendered":"Reconstruccion escenografica de la representacion de \u00abhado y divisa de leonido y marfisa\u00bb de calderon de la barca, dada en el coliseo del buen retiro el dia 3 de marzo de 1680."},"content":{"rendered":"

Tesis doctoral de Narciso Tardon Botas <\/strong><\/h2>\n

– primera parte: estudio de la sala y del espacio escenico donde se dio la representacion de \u00abhado y divisa\u00bb, tecnica teatral utilizada y reconstruccion del \u00abportico del teatro\u00bb y \u00abcortina\u00bb. – Segunda parte: estudio e investigacion, para su posterio reconstruccion, de la escenografia utilizada en la loa y en la comedia elegida. – Tercera parte: examen del variado vestuario y atrezzo que lucieron los personajes de la comedia. – carpeta de dibujos pertenecientes a la reconstruccion de las tramoyas y vestuario de la representacion de \u00abhado y divisa\u00bb de 1680.<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abReconstruccion escenografica de la representacion de \u00abhado y divisa de leonido y marfisa\u00bb de calderon de la barca, dada en el coliseo del buen retiro el dia 3 de marzo de 1680.<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 Reconstruccion escenografica de la representacion de \u00abhado y divisa de leonido y marfisa\u00bb de calderon de la barca, dada en el coliseo del buen retiro el dia 3 de marzo de 1680. <\/li>\n
  • Autor:<\/strong>\u00a0 Narciso Tardon Botas <\/li>\n
  • Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1994<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • Navarro De Zuvillaga Javier<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: \u00e1lvaro Paricio Latasa <\/li>\n
        • Cesar Oliva Olivares (vocal)<\/li>\n
        • Diez Borque Jos\u00e9 M. (vocal)<\/li>\n
        • Rafael Maestre Paya (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

           <\/p>\n","protected":false},"excerpt":{"rendered":"

          Tesis doctoral de Narciso Tardon Botas – primera parte: estudio de la sala y del espacio escenico donde se dio […]<\/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":[147,4100,1111],"tags":[6694,1871,4721,7649,7650,7651],"class_list":["post-1778","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-dibujo-y-grabado","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-alvaro-paricio-latasa","tag-cesar-oliva-olivares","tag-diez-borque-jose-m","tag-narciso-tardon-botas","tag-navarro-de-zuvillaga-javier","tag-rafael-maestre-paya"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/1778","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=1778"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/1778\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=1778"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=1778"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=1778"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}