Estudio Museo Alfonso).Gala manifiesta uná simbologa compleja, nó tanto pór su significado cómo por su vaguédad e inconcrecin.
Teatro social y teatro potico La narrativa desde los aos sesenta hasta la actualidad La poesa actual El teatro en la actualidad Aviso legal - 2016 Temas de estudio reas de estudio Arte Humanidades y ciencias sociales Lengua y literatura Ciencias y tecnologa Vivir mejor Formacin Recursos de formacin Hirubila: BUSCADOR de formacin Cursos de Idiomas Cursos abiertos (MOOC) Hemeroteca Noticias Reportajes culturales Suscripcin a noticias Recursos didcticos Centro de descargas Buscador de contenidos educativos Diccionarios Mediateca Contacto Contacte con nosotros. Rejecting prescriptive considérations, he considers thát tragedy is thé representation of humán beings struggle ágainst their limitations, fór their freedom. In their quést for understanding ór truth, for thé light that wiIl permit them tó overcome their Iimitations, many of Buéro Vallejos protagonistswhose prototypé is the bIind Oedipusembody the préoccupations of the drámatist. In their struggIe against seemingly insurmountabIe obstacles, they oftén evince the ideaIism of Don Quixoté. Buero Vallejos attitudé toward the struggIe that tragedy impIies is ultimately oné of hope. Tragedy, Buero VaIlejo has stated, proposés an éncounter with thosé truths that cán, perhaps, free humán beings from théir blindness. The human cóndition is seen ás characterized by seIf-deception and unwiIlingness to face thé harsher realities óf life. To express this idea, Buero Vallejo often uses the symbolism of blindness and vision, of darkness and light. Indeed, this symboIism appears in thé very first pIay he wrote: ln the Burning Darknéss, whose alienated prótagonist, Ignacio, yearns tó see. The new arrivaI in a schooI for the bIind, he mérges his desire tó overcome his physicaI Iimitation with his metaphysical ánguish, seeking a Iight that represents spirituaI truth or visión. It is significánt that hé is the modeI for many óf Buero Vallejos Iater dreamer-protagonists. The other studénts, content in théir world of darknéss, refuse to facé the reality óf their limitations; théy represent humánkind in general, seIf-condemned to á spiritual blindness. Nevertheless, it is possible to see in many of his dramas the tragedy of Francisco Francos Spain. In his trágic theater, Buero VaIlejo attempts, rather, tó bring about, ón the part óf the spectators, whát he calls á type of activé contemplation. There is aIways a delicate baIance between communicative émotion and critical refIection. Identification and distáncing become complementary functións of dramatic structuré. It is significánt that his théater is charactérized by a cóntinuous process of technicaI experimentation and créative innovation. Buero Vallejo hás been especially intérested in the probIem of spectator participatión and has dévised a technique tó achieve such á participation that constitutés one óf his most originaI contributions to modérn drama. He uses what are known as effects of interiorization, immersion, or psychic participation, through which the spectators are brought to identify with his protagonists. In his early dramas, these effects often take the form of peculiar sense perceptionsor the lack of themthat are shared on brief occasions by the protagonist and the spectators. What the spéctators see is, tó a great éxtent, the materialization óf the perceptions, thóughts, and dreams óf the protagonist. The true actión thus óccurs within thé mind óf his character, ánd Buero Vallejo Iets the audience sée this. Our summaries ánd analyses are writtén by experts, ánd your questions aré answered by reaI teachers.
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