{"id":21052,"date":"2018-03-09T09:10:38","date_gmt":"2018-03-09T09:10:38","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-recepcion-del-teatro-de-eugene-ionesco-en-espana-1955-1997\/"},"modified":"2018-03-09T09:10:38","modified_gmt":"2018-03-09T09:10:38","slug":"la-recepcion-del-teatro-de-eugene-ionesco-en-espana-1955-1997","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/castilla-la-mancha\/la-recepcion-del-teatro-de-eugene-ionesco-en-espana-1955-1997\/","title":{"rendered":"La recepci\u00f3n del teatro de eug\u00e9ne ionesco en espa\u00f1a (1955-1997)"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Vilvandre De Sousa C\u00e9cile <\/strong><\/h2>\n<p>En este estudio vamos a considerar la recepci\u00f3n del teatro de eug\u00e9ne ionesco espa\u00f1a (1955-1997). Lo que pretendemos es conocer c\u00f3mo -y,  en su caso, por qu\u00e9- fue recibida la producci\u00f3n teatral de ionesco, en la sociedad espa\u00f1ola en una \u00e9poca -los a\u00f1os cincuenta- en que -seg\u00fan aseguran gran parte de los tratados de historia del teatro espa\u00f1ol-, el r\u00e9gimen instaurado, tras la victoria b\u00e9lica del general franco, hab\u00eda yugulado todas las expectativas, que la generaci\u00f3n del 98 y del 27 hab\u00edan sembrado en el \u00abhorizonte de expectativas\u00bb nacional; y si, seg\u00fan intuimos, una parte del auditorio dram\u00e1tico espa\u00f1ol que andaba a la zaga de nuevos horizontes en el teatro, se interesar\u00eda por los estrenos vanguardistas y renovadores del teatro de ionesco, teniendo en cuenta que el sector cultural progresista pugnaba por un teatro de compromiso y acci\u00f3n social, desinteres\u00e1ndose por la renovaci\u00f3n est\u00e9tica, y la tem\u00e1tica de corte metaf\u00edsico y existencialista de un teatro \u00abpuro\u00bb, a priori muy desvinculado del menester de un pueblo amordazado y falto de libertad.  el objetivo de nuestra investigaci\u00f3n y su referencia inicial a una \u00e9poca hist\u00f3rica bien determinada -la dictadura franquista- nos llevar\u00e1 por consiguiente a seguir la evoluci\u00f3n del teatro de ionesco durante la transici\u00f3n (1975-1982) y la democracia, por medio de un an\u00e1lisis de su recepci\u00f3n.  asimismo hemos elegido centrar nuestro trabajo en tres obras del autor -la cantante calva, las sillas, rinoceronte- por ser representativas de las inflexiones m\u00e1s caracter\u00edsticas de su evoluci\u00f3n dramat\u00fargica.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La recepci\u00f3n del teatro de eug\u00e9ne ionesco en espa\u00f1a (1955-1997)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La recepci\u00f3n del teatro de eug\u00e9ne ionesco en espa\u00f1a (1955-1997) <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Vilvandre De Sousa C\u00e9cile <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Castilla-la mancha<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 20\/12\/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>Juan Bravo Castillo<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: dolores Bermudez medina <\/li>\n<li>Francisco Torres monreal (vocal)<\/li>\n<li>ramiro Mart\u00edn hern\u00e1ndez (vocal)<\/li>\n<li>nicolas Antonio Campos plaza (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Vilvandre De Sousa C\u00e9cile En este estudio vamos a considerar la recepci\u00f3n del teatro de eug\u00e9ne ionesco [&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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