{"id":64837,"date":"2018-03-09T22:52:55","date_gmt":"2018-03-09T22:52:55","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/antropologa%c2%ada-teatral-y-didactica-de-los-hechos-culturales-a-la-luz-del-teatro-de-lo-trascendente-el-ritual-de-paso-en-las-obras-de-p-calderon-de-la-barca-w-b-yeats-y-l-pirandello\/"},"modified":"2018-03-09T22:52:55","modified_gmt":"2018-03-09T22:52:55","slug":"antropologa%c2%ada-teatral-y-didactica-de-los-hechos-culturales-a-la-luz-del-teatro-de-lo-trascendente-el-ritual-de-paso-en-las-obras-de-p-calderon-de-la-barca-w-b-yeats-y-l-pirandello","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/teatro\/antropologa%c2%ada-teatral-y-didactica-de-los-hechos-culturales-a-la-luz-del-teatro-de-lo-trascendente-el-ritual-de-paso-en-las-obras-de-p-calderon-de-la-barca-w-b-yeats-y-l-pirandello\/","title":{"rendered":"Antropolog\u00eda teatral y did\u00e1ctica de los hechos culturales a la luz del teatro de lo trascendente: el ritual de paso en las obras de p. calder\u00f3n de la barca, w.b. yeats y l. pirandello"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Liana Vella <\/strong><\/h2>\n<p>La tesis analiza el concepto de antropolog\u00eda teatral para proyectarlo sobre el complejo de perspectivas entre teatro y vida. La uni\u00f3n del teatro con la vida corresponde a uno de los bloques tem\u00e1ticos y a la vez es el primer punto de encuentro entre tres c\u00e9lebres autores dr\u00e1maticos: calder\u00f3n barca, yeats y pirandello. Asimismo, es importante destacar que los autores mencionados implican una peculiar conciencia dual y unitaria entre estos conceptos. A lo largo del primer cap\u00edtulo se analiza el mito del \u00abeterno retorno\u00bb. En el cuerpo central de la tesis se introduce la antropolog\u00eda teatral a trav\u00e9s de eugenio barba. Se entra en la ecuaci\u00f3n entre antropolog\u00edas y teatro, prestando inter\u00e9s en el etnocentrismo del espectador, el rito, el juego y la fiesta. Por \u00faltimo se plantea el paso resolutivo desde las teor\u00edas de la antropolog\u00eda teatral hasta la asignatura acad\u00e9mica. En la tercera parte se ha tratado el \u00abpensamiento autobiogr\u00e1fico\u00bb, destacando la obra escribirse de demetrio. El trabajo se centra esencialmente en el concepto de la autobiograf\u00eda como proyecci\u00f3n terap\u00e9utica. El espect\u00e1culo teatral trenes a perder con siete vagones, transmut\u00f3 los signos en s\u00edmbolos visuales para resolver el gran problema existencial, la transici\u00f3n. Por este motivo ha nacido la propuesta de un \u00abteatro transcendental\u00bb a su vez transferible a la idea de una unidad did\u00e1ctica que se incorpora en la parte final de la tesis.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Antropolog\u00eda teatral y did\u00e1ctica de los hechos culturales a la luz del teatro de lo trascendente: el ritual de paso en las obras de p. calder\u00f3n de la barca, w.b. yeats y l. pirandello<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Antropolog\u00eda teatral y did\u00e1ctica de los hechos culturales a la luz del teatro de lo trascendente: el ritual de paso en las obras de p. calder\u00f3n de la barca, w.b. yeats y l. pirandello <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Liana Vella <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 A coru\u00f1a<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 30\/05\/2008<\/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>Alfredo Rodriguez Lopez Vazquez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: franco Perelli <\/li>\n<li>rosa Cabo mart\u00ednez (vocal)<\/li>\n<li>pascuala Morote mag\u00e1n (vocal)<\/li>\n<li>fidel Lopez criado (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Liana Vella La tesis analiza el concepto de antropolog\u00eda teatral para proyectarlo sobre el complejo de perspectivas [&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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