{"id":90601,"date":"2008-12-12T00:00:00","date_gmt":"2008-12-12T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-concepcion-del-lenguaje-en-el-teatro-de-sam-shepard-lo-magico-lo-epistemologico-y-lo-etico\/"},"modified":"2008-12-12T00:00:00","modified_gmt":"2008-12-12T00:00:00","slug":"la-concepcion-del-lenguaje-en-el-teatro-de-sam-shepard-lo-magico-lo-epistemologico-y-lo-etico","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/critica-de-textos\/la-concepcion-del-lenguaje-en-el-teatro-de-sam-shepard-lo-magico-lo-epistemologico-y-lo-etico\/","title":{"rendered":"La concepci\u00f3n del lenguaje en el teatro de sam shepard: lo m\u00e1gico, lo epistemol\u00f3gico y lo \u00e9tico"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Ruben V\u00e1zquez Negro <\/strong><\/h2>\n<p>En la tesis, abordamos los aspectos m\u00e1s relevantes del teatro de sam shepard (1943- ) a trav\u00e9s de dos bloques. En el primero, ofrecemos una contextualizaci\u00f3n que abarca tres aspectos: la influencia de varios nombres propios y corrientes teatrales (antonin artaud, bertolt brecht, el teatro del absurdo y gertrude stein) en los escenarios norteamericanos de los sesenta, el teatro de off-off-broadway y, por \u00faltimo, la teor\u00eda dram\u00e1tica de sam shepard en relaci\u00f3n al p\u00fablico, los actores, el lenguaje y la puesta en escena. En el segundo bloque, analizamos las obras m\u00e1s significativas del autor, bas\u00e1ndonos en la filosof\u00eda del lenguaje que cada una de ellas esconde. En este an\u00e1lisis, seguimos una perspectiva diacr\u00f3nica, que permite apreciar tres fases: 1)en las obras de juventud, hay que destacar la capacidad del lenguaje para transformar el escenario, gracias a una serie de mon\u00f3logos con la que los personajes imponen su visi\u00f3n del mundo. El resultado son unas obras de gran teatralidad en las que el autor airea sus preocupaciones m\u00e1s \u00edntimas. 2)a finales de los sesenta, shepard incluir\u00eda temas relacionados con la cultura de su pa\u00eds. La capacidad m\u00e1gica del lenguaje pervive, lo que produce, sin embargo, que las obras sean pobres desde un punto de vista intelectual. Debido a ello, shepard manifiesta una actitud antiteatral que, parad\u00f3jicamente, se integra en el tejido de las obras. 3)a partir de curse of the starving class (1977), shepard explorar\u00eda (de manera cr\u00edtica y hasta par\u00f3dica) las posibilidades del realismo familiar. Dentro de este marco, shepard afronta las consecuencias \u00e9ticas que su concepci\u00f3n del lenguaje tiene sobre el individuo, introduciendo algunas alternativas al universo apor\u00edstico de obras anteriores.   en cuanto a la metodolog\u00eda, hemos considerado las teor\u00edas del lenguaje m\u00e1s importantes surgidas en el siglo pasado, desde ludwig wittgenstein al post-estructuralismo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La concepci\u00f3n del lenguaje en el teatro de sam shepard: lo m\u00e1gico, lo epistemol\u00f3gico y lo \u00e9tico<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La concepci\u00f3n del lenguaje en el teatro de sam shepard: lo m\u00e1gico, lo epistemol\u00f3gico y lo \u00e9tico <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Ruben V\u00e1zquez Negro <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/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>Antonio Rodriguez Celada<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: daniel Pastor Garc\u00eda <\/li>\n<li>ram\u00f3n Espejo romero (vocal)<\/li>\n<li>Mar\u00eda  antonia Rodriguez gago (vocal)<\/li>\n<li>Juan  ignacio Guijarro gonzalez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Ruben V\u00e1zquez Negro En la tesis, abordamos los aspectos m\u00e1s relevantes del teatro de sam shepard (1943- [&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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