{"id":49555,"date":"2021-04-07T18:20:38","date_gmt":"2021-04-07T18:20:38","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/teoria-y-practica-del-teatro-galdosiano\/"},"modified":"2021-04-07T18:20:38","modified_gmt":"2021-04-07T18:20:38","slug":"teoria-y-practica-del-teatro-galdosiano","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/teoria-y-practica-del-teatro-galdosiano\/","title":{"rendered":"Teoria y practica del teatro galdosiano"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Menendez Onrubia M. Carmen <\/strong><\/h2>\n<p>Dos puntos fundamentales tiene esta tesis: los presupuestos teoricos que encuadran el teatro de galdos (tomo i) y el contenido psicologico  sociopolitico y simbolico literario primordial  junto con la funcion complementaria de la organizacion expresiva de cada drama. (Tomo ii). En el primero he localizado con nitidez dos presupuestos imprescindibles para su comprension. La profunda formacion humanistica y dieciochesca desde su infancia en las palmas  y la constante presencia del fanatismo y de la corrupcion moral a lo largo de su vida y del desarrollo sociopolitico nacional. Estos presupuestos integran el contenido y determinan la organizacion de sus dramas  subordinados ambos planos a su afan  a veces angustiado  de reeducar la moral civica espa\u00f1ola en la convivencia democratica. A la constancia del contenido le corresponde el afan expresivo de lograr un maximo de efectividad. Y lo consigue incorporando cada vez mas la imagen en sus obras. Esto es lo que explica el paso de galdos desde la narracion al drama a traves de los episodios nacionales y de la novela dialogada.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Teoria y practica del teatro galdosiano<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Teoria y practica del teatro galdosiano <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Menendez Onrubia M. Carmen <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1982<\/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>Luciano Garc\u00eda Lorenzo<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francisco L\u00f3pez Estrada <\/li>\n<li>Jos\u00e9 Simon Diaz (vocal)<\/li>\n<li>Manuel Alvar Lopez (vocal)<\/li>\n<li>Andr\u00e9s Amor\u00f3s Guardiola (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Menendez Onrubia M. Carmen Dos puntos fundamentales tiene esta tesis: los presupuestos teoricos que encuadran el teatro [&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":[147,1110,1111],"tags":[6400,719,718,2969,793,113718],"class_list":["post-49555","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-teatro","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-andres-amoros-guardiola","tag-francisco-lopez-estrada","tag-jose-simon-diaz","tag-luciano-garcia-lorenzo","tag-manuel-alvar-lopez","tag-menendez-onrubia-m-carmen"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/49555","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=49555"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/49555\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=49555"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=49555"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=49555"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}