{"id":20011,"date":"2018-03-09T09:09:11","date_gmt":"2018-03-09T09:09:11","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-caja-magica-cuerpo-y-escena\/"},"modified":"2018-03-09T09:09:11","modified_gmt":"2018-03-09T09:09:11","slug":"la-caja-magica-cuerpo-y-escena","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/politecnica-de-madrid\/la-caja-magica-cuerpo-y-escena\/","title":{"rendered":"La caja m\u00e1gica – cuerpo y escena"},"content":{"rendered":"

Tesis doctoral de Fernando Quesada L\u00f3pez <\/strong><\/h2>\n

Partiendo de una definici\u00f3n del t\u00e9rmino \u00abteatro\u00bb como espacio esc\u00e9nico, la tesis estudia seis episodios de la relaci\u00f3n entre el concepto teatral y el espacio arquitect\u00f3nico de la representaci\u00f3n durante los siglos xix y xx. el primero se ocupa de richar wagner y del espacio de la tragedia wagneriana, la festspielhaus de bayreuth, con su magnificaci\u00f3n de la escena y de los personajes como \u00abtaslaci\u00f3n directa a la realidad de la escena del ideal inalcanzable, lejano, grandioso y misterioso\u00bb y con un espacio esc\u00e9nico en cuyo centro se encuentra el h\u00e9roe, el cuerpo, y fuera del cual se encuentra el espectador. el segundo trata de la \u00f3pera de par\u00eds, de charles garnier, un espect\u00e1culo en s\u00ed misma, una catedral mundana que crea un panorama-una reproducci\u00f3n en miniatura de la vida metropolitana de par\u00eds, y establece una continuidad completa entre el edificio teatral y el tejido urbano y hace que el espectador sea tambi\u00e9n y al mismo tiempo actor. en el tercero se estudia la genalog\u00eda de la gesamtkunstwerk a trav\u00e9s de la dresden opernhaus de gottfried semper, un \u00abartefacto de s\u00edntesis entre ciudad y sociedad o tecnolog\u00eda y naturaleza\u00bb y a la vez foco y fulcro dentro del foro p\u00fablico. el cuarto analiza las actuaciones de peter berhrens y jospe olbrich en la colonia de artistas de darmstadt, que \u00abbasculan entre los dos polos de la aspiraci\u00f3n a una totalidad fuerte, cristalina y geom\u00e9trica -behrens- y la aspiraci\u00f3n a una totalidad d\u00e9bil -olbrich- que consiste en la acumulaci\u00f3n de subjetividades independientes, interiroes, unificadas por un manto ornamental\u00bb. en el quinto se trata la figura de adolphe appia, \u00abte\u00f3rico teatral, escen\u00f3grafo y director de escena que pasa por ser el m\u00e1s importante renovador de la puesta en escena europea del siglo xx\u00bb, que har\u00e1 de la construcci\u00f3n de un vac\u00edo esc\u00e9nico para la presencia corporal del actor- y del propio espectador- el fundamento de su trabajo. finalmente, el secto e<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abLa caja m\u00e1gica – cuerpo y escena<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 La caja m\u00e1gica – cuerpo y escena <\/li>\n
  • Autor:<\/strong>\u00a0 Fernando Quesada L\u00f3pez <\/li>\n
  • Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Madrid<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 18\/11\/2002<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • Mar\u00eda Teresa Mu\u00f1oz Jim\u00e9nez<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: Luis Moreno Garc\u00eda-mansilla <\/li>\n
        • josep Quetglas riusech (vocal)<\/li>\n
        • sim\u00f3n March\u00e1n fiz (vocal)<\/li>\n
        • Juan Luis Trillo de leyva (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

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

          Tesis doctoral de Fernando Quesada L\u00f3pez Partiendo de una definici\u00f3n del t\u00e9rmino \u00abteatro\u00bb como espacio esc\u00e9nico, la tesis estudia seis […]<\/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":[16008],"tags":[61115,15712,37218,61116,15715,5790],"class_list":["post-20011","post","type-post","status-publish","format-standard","hentry","category-politecnica-de-madrid","tag-fernando-quesada-lopez","tag-josep-quetglas-riusech","tag-juan-luis-trillo-de-leyva","tag-luis-moreno-garcia-mansilla","tag-maria-teresa-munoz-jimenez","tag-simon-marchan-fiz"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/20011","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=20011"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/20011\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=20011"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=20011"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=20011"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}