{"id":90558,"date":"2008-12-12T00:00:00","date_gmt":"2008-12-12T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/when-shall-we-three-meet-again-macbeth-en-ocho-momentos-de-la-historia-del-teatro-ingles\/"},"modified":"2008-12-12T00:00:00","modified_gmt":"2008-12-12T00:00:00","slug":"when-shall-we-three-meet-again-macbeth-en-ocho-momentos-de-la-historia-del-teatro-ingles","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/critica-de-textos\/when-shall-we-three-meet-again-macbeth-en-ocho-momentos-de-la-historia-del-teatro-ingles\/","title":{"rendered":"When shall we three meet again? macbeth en ocho momentos de la historia del teatro ingl\u00e9s"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Adelaida Blasco Cerezuela <\/strong><\/h2>\n<p>When shall we three meet again? Es la pregunta que se plantean las hechiceras al comienzo de la obra shakesperiana de \u00abmacbeth\u00bb. Sin embargo, no sab\u00edan, quiz\u00e1s ni el propio shakespeare lo sab\u00eda, que se reencontrar\u00edan hasta la infinidad, en los escenarios m\u00e1s diferentes y variopintos del mundo desde la creaci\u00f3n de esta obra a comienzos del siglo xvii a la actualidad. a partir de reflexiones de este tipo, el objetivo de la tesis es indagar los procesos de metamorfosis que experimentan un conjunto de datos hist\u00f3ricos sobre el rey escoc\u00e9s macbeth en el campo de la producci\u00f3n dram\u00e1tica brit\u00e1nica, en concreto, en ocho instantes espec\u00edficos de la historia del teatro ingl\u00e9s. Y lo hace a trav\u00e9s de ocho reescrituras dram\u00e1ticas que incluyen elementos comunes reconocibles en las cr\u00f3nicas iniciales junto a otros de caracter\u00edsticas ajenas que dependen de la particular aclimataci\u00f3n de cada una de ellas a cada momento social. en primer lugar, se analizan las aventuras y desventuras de macbeth en la obra jacobina junto a las fuentes y situaciones sociopol\u00edticas que originaron la aparici\u00f3n de esta tragedia. Se constata la multiplicidad referencial y sem\u00e1ntica de esta obra y su capacidad virtual de reproducirse en otras producciones. en segundo lugar, asistimos al redise\u00f1o de esta ficci\u00f3n por parte de otros dramaturgos a trav\u00e9s de los siglos, desde la \u00e9poca de la restauraci\u00f3n hasta finales del siglo xx: sir william davenant, robert bell, francis talfourd, g.B. Shaw, charles marowitz, welcome msomi y tom stoppard.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>When shall we three meet again? macbeth en ocho momentos de la historia del teatro ingl\u00e9s<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 When shall we three meet again? macbeth en ocho momentos de la historia del teatro ingl\u00e9s <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Adelaida Blasco Cerezuela <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Universitat de val\u00e9ncia (estudi general)<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 12\/12\/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>Miguel Teruel Pozas<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Juan  vicente Martinez luciano <\/li>\n<li>Jos\u00e9 Manuel Gonz\u00e1lez fern\u00e1ndez de sevilla (vocal)<\/li>\n<li>ignacio Ramos gay (vocal)<\/li>\n<li>vicent Montalt resurrecci\u00f3 (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Adelaida Blasco Cerezuela When shall we three meet again? Es la pregunta que se plantean las hechiceras [&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":[149,2142,713,1110],"tags":[187866,84319,187867,134760,12088,187868],"class_list":["post-90558","post","type-post","status-publish","format-standard","hentry","category-critica-de-textos","category-filologia","category-historia-de-la-literatura","category-teatro","tag-adelaida-blasco-cerezuela","tag-ignacio-ramos-gay","tag-jose-manuel-gonzalez-fernandez-de-sevilla","tag-juan-vicente-Martinez-luciano","tag-miguel-teruel-pozas","tag-vicent-montalt-resurreccio"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/90558","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=90558"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/90558\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=90558"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=90558"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=90558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}