{"id":29425,"date":"2018-03-09T09:22:32","date_gmt":"2018-03-09T09:22:32","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-teatro-critico-espanol-durante-el-franquismo-visto-por-sus-censores\/"},"modified":"2018-03-09T09:22:32","modified_gmt":"2018-03-09T09:22:32","slug":"el-teatro-critico-espanol-durante-el-franquismo-visto-por-sus-censores","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/alcala\/el-teatro-critico-espanol-durante-el-franquismo-visto-por-sus-censores\/","title":{"rendered":"El teatro critico espa\u00f1ol durante el franquismo, visto por sus censores."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Berta Mu\u00f1oz Caliz <\/strong><\/h2>\n<p>A partir de los expedientes conservados en el archivo general de la administraci\u00f3n civil del estado, se propone un estudio de la censura de representaciones teatrales durante la dictadura de franco, atendiendo a una serie de dramaturgos relevantes de la oposici\u00f3n antifranquista, representativos de distintos per\u00edodos hist\u00f3ricos y opciones est\u00e9ticas: antonio buero vallejo, alfonso sastre, jos\u00e9 mart\u00edn recuerda, lauro olmo, jos\u00e9 mar\u00eda rodr\u00edguez m\u00e9ndez, max aub, rafael alberti, fernando arrabal, luis riaza, miguel romero esteo, francisco nieva, alfonso vallejo, jos\u00e9 sanchis sinisterra, jos\u00e9 luis alonso de santos, domingo miras, jes\u00fas campos garc\u00eda, ferm\u00edn cabal, albert boadella y salvador t\u00e1vora.  el estudio se compone de dos vol\u00famenes: uno de ellos est\u00e1 organizado en funci\u00f3n de los distintos per\u00edodos del r\u00e9gimen franquista, y en \u00e9l se estudia la evoluci\u00f3n de la censura teatral a lo largo de los mismos (desde su implantaci\u00f3n en 1939 hasta su desaparici\u00f3n legal en 1978), as\u00ed como su incidencia en la obra de los dramaturgos estudiados. Se ha intentado atender aqu\u00ed a aspectos que completen la informaci\u00f3n aportada por los expedientes, tales como la autocensura ejercida por algunos de estos autores, o los problemas que encontraron para estrenar sus obras distintos a la propia censura, para lo que se ha recurrido a fuentes muy diversas.  el volumen segundo (ap\u00e9ndice documental) recoge la documentaci\u00f3n de los expedientes de forma sistematizada, atendiendo a los siguientes puntos: 1) informes de los censores, 2) compa\u00f1\u00edas que solicitaron la gu\u00eda de censura y 3) tachaduras y correcciones se\u00f1aladas en el libreto. En los casos en que los expedientes ofrecen otro tipo de documentaci\u00f3n, correspondencia sobre todo, tambi\u00e9n aparece recogida. Para completar esta informaci\u00f3n, se han elaborado una serie de tablas que permiten consultar y comparar una serie de datos significativos, como son el dictamen recibido por cada o<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El teatro critico espa\u00f1ol durante el franquismo, visto por sus censores.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El teatro critico espa\u00f1ol durante el franquismo, visto por sus censores. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Berta Mu\u00f1oz Caliz <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Alcal\u00e1<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 26\/03\/2004<\/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>Angel Berenguer Castellary<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio S\u00e1nchez trigueros <\/li>\n<li>fidel Lopez criado (vocal)<\/li>\n<li>Mar\u00eda  angeles Grande rosales (vocal)<\/li>\n<li>Mar\u00eda  Jos\u00e9 Conde guerri (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Berta Mu\u00f1oz Caliz A partir de los expedientes conservados en el archivo general de la administraci\u00f3n civil [&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":[17426],"tags":[11560,3573,83209,36871,70387,6404],"class_list":["post-29425","post","type-post","status-publish","format-standard","hentry","category-alcala","tag-angel-berenguer-castellary","tag-antonio-sanchez-trigueros","tag-berta-munoz-caliz","tag-fidel-lopez-criado","tag-maria-angeles-grande-rosales","tag-maria-jose-conde-guerri"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/29425","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=29425"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/29425\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=29425"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=29425"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=29425"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}