{"id":27838,"date":"2018-03-09T09:20:17","date_gmt":"2018-03-09T09:20:17","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/funcionamiento-escenico-del-verso-del-xvii-espanol-al-xvii-frances\/"},"modified":"2018-03-09T09:20:17","modified_gmt":"2018-03-09T09:20:17","slug":"funcionamiento-escenico-del-verso-del-xvii-espanol-al-xvii-frances","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/funcionamiento-escenico-del-verso-del-xvii-espanol-al-xvii-frances\/","title":{"rendered":"Funcionamiento esc\u00e9nico del verso (del xvii espa\u00f1ol al xvii franc\u00e9s)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Susana Cantero Garrido <\/strong><\/h2>\n<p>Este trabajo propone una investigaci\u00f3n sobre los textos dram\u00e1ticos en verso del siglo xvii, tanto en el \u00e1mbito espa\u00f1ol como en el fr\u00e1nces, realizada desde la dramaturgia, es decir, desde la pr\u00e1ctica profesional del teatro.  su objetivo es demostrar c\u00f3mo la forma externa del verso es significante del contenido dram\u00e1tico de las diferentes escenas. Hemos realizado inicialmente una consideraci\u00f3n preliminar sobre el funcionamiento esc\u00e9nico gen\u00e9rico del texto teatral.  en segundo lugar, hemos traspasado dicha consideraci\u00f3n al verso dram\u00e1tico, cuya composici\u00f3n formal obedece a un c\u00f3digo consciente de uso profesional, que se desmarca del de la l\u00edrica y cuya sustancia est\u00e1 definida por dos factores: la oralidad como condici\u00f3n necesaria del texto teatral y el precepto dram\u00e1tico de la econom\u00eda.  hemos establecido, tanto en el \u00e1mbito espa\u00f1ol como en el franc\u00e9s, una filiaci\u00f3n gen\u00e9tica de estos usos del verso que arranca en los textos teatrales de la edad media de ambos pa\u00edses, y que, a trav\u00e9s del renacimiento, llega hasta el siglo xvii, componiendo en cada uno de ellos, de modo acorde con el ritmo natural de sus respectivas lenguas, un c\u00f3digo de uso dram\u00e1tico del verso que, en cada uno de los dos \u00e1mbitos, apunta hacia la definici\u00f3n de un esquema dramat\u00fargico particular.  por fin, hemos realizado un recorrido detallado sobre las diferentes estrofas, con el fin de establecer su nivel cero de funcionamiento dram\u00e1tico. Por \u00faltimo, hemos estudiado la modulaci\u00f3n interna del texto en la concatenaci\u00f3n de unas estrofas con otras seg\u00fan la evoluci\u00f3ninterna de las situaciones dadas, es decir, la flexibilizaci\u00f3n del recurso seg\u00fan la exigencia impuesta por la necesidad interna de cada trama en particular.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Funcionamiento esc\u00e9nico del verso (del xvii espa\u00f1ol al xvii franc\u00e9s)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Funcionamiento esc\u00e9nico del verso (del xvii espa\u00f1ol al xvii franc\u00e9s) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Susana Cantero Garrido <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 18\/12\/2003<\/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> Prado Biezma JavierDel<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: vicente Bastida monti\u00f1o <\/li>\n<li>Juan Bravo castillo (vocal)<\/li>\n<li>Jos\u00e9 cipriano Paulino ayuso (vocal)<\/li>\n<li>pilar Suarez pascual (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Susana Cantero Garrido Este trabajo propone una investigaci\u00f3n sobre los textos dram\u00e1ticos en verso del siglo xvii, [&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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