{"id":35049,"date":"1998-01-01T00:00:00","date_gmt":"1998-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-actividad-comunicativa-del-actor-en-el-teatro\/"},"modified":"1998-01-01T00:00:00","modified_gmt":"1998-01-01T00:00:00","slug":"la-actividad-comunicativa-del-actor-en-el-teatro","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-actividad-comunicativa-del-actor-en-el-teatro\/","title":{"rendered":"La actividad comunicativa del actor en el teatro."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Castrillon Suarez Jos\u00e9 M. <\/strong><\/h2>\n<p>Este trabajo pretende un an\u00e1lisis del actor en la comunicaci\u00f3n teatral. Se hace un planteamiento semiol\u00f3gico y se sit\u00faa al actor en su contexto estrat\u00e9gico. Sucesivamente se tratan cuestiones referidas a la especificidad del teatro, su dimensi\u00f3n metacomunicativa, el principio de simulaci\u00f3n y la relaci\u00f3n teatro-juego.  en sucesivos cap\u00edtulos se aborda el concepto de comunicaci\u00f3n, la representaci\u00f3n como acto comunicativo, la comprensi\u00f3n y la irreproductividad del espect\u00e1culo, lo que tiene que ver con el actor moderno y los signos del actor en el mimodrama.  la parte 2. Desarrolla lo que afecta al actor y a la obra dram\u00e1tica y lo concerniente al actor y la puesta en escena.  las conclusiones cierran el trabajo justificando en s\u00edntesis las aportaciones realizadas. Una amplia bibliograf\u00eda justifica al final el trabajo llevado a cabo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La actividad comunicativa del actor en el teatro.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La actividad comunicativa del actor en el teatro. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Castrillon Suarez Jos\u00e9 M. <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Oviedo<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1998<\/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>Rafael Nu\u00f1ez Ramos<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Bobes Naves Mar\u00eda  Del Carmen <\/li>\n<li>Antonio S\u00e1nchez Trigueros (vocal)<\/li>\n<li> Fernandez Cardo Jos\u00e9 Mar\u00eda (vocal)<\/li>\n<li>Joaquina Canoa Galiana (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Castrillon Suarez Jos\u00e9 M. Este trabajo pretende un an\u00e1lisis del actor en la comunicaci\u00f3n teatral. Se hace [&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":[147,149,8846,1110,1111,628],"tags":[3573,633,93930,4794,93931,630],"class_list":["post-35049","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-critica-de-textos","category-oviedo","category-teatro","category-teoria-analisis-y-critica-de-las-bellas-artes","category-teoria-analisis-y-critica-literarios","tag-antonio-sanchez-trigueros","tag-bobes-naves-maria-del-carmen","tag-castrillon-suarez-jose-m","tag-fernandez-cardo-jose-maria","tag-joaquina-canoa-galiana","tag-rafael-nunez-ramos"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/35049","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=35049"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/35049\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=35049"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=35049"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=35049"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}