{"id":90891,"date":"2018-03-11T10:09:32","date_gmt":"2018-03-11T10:09:32","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-exhibicion-integral-del-cuerpo-desnudo-en-el-teatro-espanol-actual-1976-a-2006\/"},"modified":"2018-03-11T10:09:32","modified_gmt":"2018-03-11T10:09:32","slug":"la-exhibicion-integral-del-cuerpo-desnudo-en-el-teatro-espanol-actual-1976-a-2006","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/teatro\/la-exhibicion-integral-del-cuerpo-desnudo-en-el-teatro-espanol-actual-1976-a-2006\/","title":{"rendered":"La exhibicion integral del cuerpo desnudo en el teatro espa\u00f1ol actual (1976 \u00c2\u00bf 2006)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Maha Abdel Moneim Abdel Rehim El Awady <\/strong><\/h2>\n<p>Durante las \u00faltimas tres d\u00e9cadas, el teatro espa\u00f1ol asiste a una proliferaci\u00f3n de las escenas del desnudo, cuya presencia suscita en el estudioso peculiares reflexiones acerca de la apariencia menos teatralizada del actor. En la presente tesis doctoral examinamos las vertientes y contribuciones del desnudo como elemento esc\u00e9nico de significaci\u00f3n. A este prop\u00f3sito, abordamos una cantidad de puestas en escena, analizando los mecanismos internos que involucran al desnudo y le dotan de una funci\u00f3n diferente en cada obra. Nuestro objetivo es investigar el desarrollo est\u00e9tico y sem\u00e1ntico del actor desnudo, as\u00ed como resaltar la condici\u00f3n referencial, artificiosa y meta-teatral de la imagen m\u00e1s natural y pura del cuerpo sobre el escenario.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La exhibicion integral del cuerpo desnudo en el teatro espa\u00f1ol actual (1976 \u00c2\u00bf 2006)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La exhibicion integral del cuerpo desnudo en el teatro espa\u00f1ol actual (1976 \u00c2\u00bf 2006) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Maha Abdel Moneim Abdel Rehim El Awady <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Alcal\u00e1<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 18\/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>Manuel Perez Jimenez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 Mar\u00eda Paz gago <\/li>\n<li>alfredo Salda\u00f1a sagredo (vocal)<\/li>\n<li>Manuel Diago moncholi (vocal)<\/li>\n<li>daniel f. Ferreras (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Maha Abdel Moneim Abdel Rehim El Awady Durante las \u00faltimas tres d\u00e9cadas, el teatro espa\u00f1ol asiste a [&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":[17426,1110],"tags":[29000,146554,18990,188483,127866,17686],"class_list":["post-90891","post","type-post","status-publish","format-standard","hentry","category-alcala","category-teatro","tag-alfredo-saldana-sagredo","tag-daniel-f-ferreras","tag-jose-maria-paz-gago","tag-maha-abdel-moneim-abdel-rehim-el-awady","tag-manuel-diago-moncholi","tag-manuel-perez-jimenez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/90891","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=90891"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/90891\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=90891"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=90891"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=90891"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}