{"id":5889,"date":"2014-09-09T07:42:34","date_gmt":"2014-09-09T07:42:34","guid":{"rendered":"https:\/\/www.revistarambla.com\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\/"},"modified":"2014-09-09T07:42:34","modified_gmt":"2014-09-09T07:42:34","slug":"the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\/","title":{"rendered":"The Ghost and Mrs. Muir o en qu\u00e9 consiste el sue\u00f1o creativo"},"content":{"rendered":"

\t\"alt\"La trama<\/span> de The Ghost and Mrs. Muir<\/i> arranca<\/span>\u00a0de la decisi\u00f3n<\/span> que<\/span> toma<\/span> Lucy Muir de vivir<\/span> por<\/span> fin una<\/span> vida<\/span> propia<\/span> (I’ve never had a life of my own<\/i>). Como no pod\u00eda<\/span> ser<\/span> de otra<\/span> manera<\/span>, esta<\/span> decisi\u00f3n<\/span> implica<\/span> una<\/span> ruptura<\/span> con el espacio<\/span> en el que<\/span> estaba<\/span> instalada<\/span>.<\/p>\n

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\t\"alt\"<\/p>\n

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\tLa trama<\/span> de The Ghost and Mrs. Muir<\/i> arranca<\/span> de la decisi\u00f3n<\/span> que<\/span> toma<\/span> Lucy Muir de vivir<\/span> por<\/span> fin una<\/span> vida<\/span> propia<\/span> (I’ve never had a life of my own<\/i>). Como no pod\u00eda<\/span> ser<\/span> de otra<\/span> manera<\/span>, esta<\/span> decisi\u00f3n<\/span> implica<\/span> una<\/span> ruptura<\/span> con el espacio<\/span> en el que<\/span> estaba<\/span> instalada<\/span>. Romper\u00e1<\/span> con su<\/span> suegra<\/span>, su<\/span> cu\u00f1ada<\/span>, la casa en la que<\/span> viven<\/span>, Londres<\/span>, as\u00ed<\/span> como<\/span> con todas<\/span> aquellas<\/span> cosas<\/span> de su<\/span> vida<\/span> anterior (su<\/span> marido<\/span> est\u00e1<\/span> muerto<\/span>, la se\u00f1ora<\/span> Muir viste<\/span> luto<\/span> riguroso<\/span> cuando<\/span> empieza<\/span> la pel\u00edcula<\/span>) que<\/span> no sean<\/span> estrictamente<\/span> propias<\/span> (se lleva<\/span> consigo<\/span> a su<\/span> hija<\/span> peque\u00f1a<\/span> y su<\/span> doncella<\/span>). Puesto<\/span> que<\/span> se trata<\/span> de una<\/span> apuesta<\/span> por<\/span> vivir<\/span> no la vida<\/span> de otros<\/span>, no una<\/span> vida<\/span> de segunda<\/span> mano<\/span>, sino<\/span> una<\/span> vida<\/span> propia<\/span> (I have my own life to live<\/i>), de vivirla<\/span> libremente<\/span> <\/i>(sin padres ni<\/span> tutores<\/span>), no es<\/span> casual que<\/span> el lugar<\/span> en el que<\/span> Lucy proyecta<\/span> establecer<\/span> su<\/span> futura<\/span> residencia<\/span> tenga<\/span> como<\/span> \u00fanico<\/span> requisito<\/span> el estar<\/span> al lado<\/span> del mar (I’ve always wanted to live by the sea<\/i>).\u00a0<\/p>\n

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\tQue<\/span> Lucy Muir ha elegido<\/span> el camino<\/span> menos<\/span> seguro<\/span>, el menos<\/span> obvio<\/span> y el m\u00e1s<\/span> dif\u00edcil<\/span> se confirma<\/span> enseguida<\/span> en su<\/span> prop\u00f3sito<\/span> de alquilar<\/span> una<\/span> casa que<\/span>, aun<\/span> cumpliendo<\/span> la condici\u00f3n<\/span> de estar<\/span> situada<\/span> junto<\/span> al mar, tiene<\/span> un inconveniente<\/span>, o, dig\u00e1moslo<\/span> mejor<\/span> as\u00ed<\/span>, tiene<\/span> algo<\/span> que<\/span> seg\u00fan<\/span> el modo<\/span> ordinario<\/span> de ver<\/span> las<\/span> cosas<\/span> resulta<\/span> ser<\/span> un inconveniente<\/span> (algo<\/span> es<\/span> un inconveniente<\/span> en la medida<\/span> en que<\/span> uno<\/span> decide considerarlo<\/span> tal<\/span>). Si el alquiler<\/span> de la casa de los sue\u00f1os<\/span> de Lucy Muir es<\/span> tan bajo<\/span> es<\/span> porque<\/span> est\u00e1<\/span> hechizada<\/span>, de manera<\/span> que<\/span> nadie<\/span> ha querido<\/span> o ha podido<\/span> hasta<\/span> el momento<\/span> quedarse<\/span> mucho<\/span> tiempo<\/span> en ella<\/span> (\u00bfo quiz\u00e1<\/span> deber\u00edamos<\/span> decir<\/span> m\u00e1s<\/span> bien<\/span> que<\/span> nadie<\/span> ha estado<\/span> a\u00fan<\/span> a la altura<\/span> de la casa, que<\/span> nadie<\/span> ha merecido<\/span> realmente<\/span> quedarse<\/span> a vivir<\/span> en ella<\/span>?). Sea como<\/span> sea, Lucy no solo est\u00e1<\/span> entusiasmada<\/span> con la idea de alquilar<\/span> justamente<\/span> una<\/span> casa encantada<\/span> (Haunted. How perfectly fascinating!<\/i>), sino<\/span> que<\/span> demostrar\u00e1<\/span> ser<\/span> digna<\/span> de vivir<\/span> en ella<\/span>. La prueba<\/span> a la que<\/span> el esp\u00edritu<\/span> guardi\u00e1n<\/span> de la casa (el presunto<\/span> fantasma<\/span> de su<\/span> due\u00f1o<\/span> muerto<\/span>) somete<\/span> a los aspirantes<\/span> a inquilinos<\/span> tiene<\/span> como<\/span> fin descubrir<\/span> el valor y el m\u00e9rito<\/span> de los mismos<\/span>, y Lucy Muir supera<\/span> esta<\/span> prueba<\/span> magn\u00edficamente<\/span>. No es<\/span> solo que<\/span> Lucy escoja<\/span> vivir<\/span> en una<\/span> casa encantada<\/span>; en cierto<\/span> sentido<\/span> la casa encantada<\/span> tambi\u00e9n<\/span> la escoge<\/span> a ella<\/span>.\u00a0<\/p>\n

\t\u00a0<\/p>\n

\tUna<\/span> vez<\/span> que<\/span> Lucy se ha instalado<\/span> en Gull Cottage<\/i> reaparecen<\/span> la suegra<\/span> y la cu\u00f1ada<\/span> con la intenci\u00f3n<\/span> de colocarla<\/span> de nuevo<\/span> en los ra\u00edles<\/span> de la vida<\/span> dependiente<\/span>. La ruptura<\/span> ser\u00e1<\/span> esta<\/span> vez<\/span> en\u00e9rgica<\/span> y definitiva<\/span> (se necesita<\/span> fuerza<\/span>, incluso<\/span> violencia<\/span>, para<\/span> encontrar<\/span> un camino<\/span> nuevo<\/span>, un camino<\/span> propio<\/span>). La disposici\u00f3n<\/span> que<\/span> Lucy ha mostrado<\/span> para<\/span> vivir<\/span> libremente<\/span> su<\/span> vida<\/span> sin dejarse<\/span> apabullar<\/span> por<\/span> las<\/span> dificultades<\/span> ha puesto<\/span> al fantasma<\/span> de su<\/span> parte<\/span> (es<\/span> \u00e9l<\/span> quien<\/span> empuja<\/span> a las<\/span> intrusas<\/span> fuera<\/span> de la casa), de modo<\/span> que<\/span> la decisi\u00f3n<\/span> de quedarse<\/span> pese<\/span> a todo<\/span> (suegra<\/span> y cu\u00f1ada<\/span> van a buscarla<\/span> porque<\/span> Lucy ha perdido<\/span> su<\/span> fuente<\/span> de ingresos<\/span>; la seguridad<\/span> que<\/span> da<\/span> el dinero<\/span> es<\/span> en efecto<\/span> uno<\/span> de los cebos<\/span> de la vida<\/span> f\u00e1cil<\/span>, pero<\/span> impropia<\/span>, que<\/span> Lucy acaba<\/span> de dejar<\/span> atr\u00e1s<\/span>) se vincula<\/span> esencialmente<\/span> con su<\/span> relaci\u00f3n<\/span> de amistad<\/span> con el fantasma<\/span>. Si el fantasma<\/span> entra<\/span> en \u00edntima<\/span> relaci\u00f3n<\/span> con Lucy es<\/span> por<\/span> el sentido<\/span> de la libertad<\/span> y el valor que<\/span> ella<\/span> misma<\/span> ha demostrado<\/span>; si<\/span> le presta<\/span> ayuda<\/span>, es<\/span> porque<\/span> ella<\/span> misma<\/span> se ha mostrado<\/span> digna<\/span> de ser<\/span> ayudada<\/span>. En este<\/span> sentido<\/span>, la fuerza<\/span> que<\/span> el fantasma<\/span> proporciona<\/span> a Lucy de ahora<\/span> en adelante<\/span> es<\/span> la fuerza<\/span> del fantasma<\/span>, s\u00ed<\/span>, pero<\/span> es<\/span> que<\/span> un fantasma<\/span> no habla<\/span> a cualquiera<\/span> ni<\/span> se le aparece<\/span> a cualquiera<\/span> ni<\/span> ayuda<\/span> cualquiera<\/span>, con lo cual<\/span> su<\/span> fuerza<\/span> es<\/span> al mismo<\/span> tiempo<\/span> la fuerza<\/span> de la propia<\/span> Lucy.\u00a0<\/p>\n

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\tA partir<\/span> de aqu\u00ed<\/span> se pone en marcha<\/span> eso<\/span> que<\/span> de manera<\/span> algo<\/span> pedante<\/span> podr\u00edamos<\/span> llamar<\/span> una<\/span> fenomenolog\u00eda<\/span> del acto<\/span> creativo<\/span>. La falta<\/span> de recursos<\/span> econ\u00f3micos<\/span> pone a Lucy en la situaci\u00f3n<\/span> de buscarse<\/span> una<\/span> manera<\/span> de ganar<\/span> dinero<\/span>: siempre<\/span> hay cierta<\/span> urgencia<\/span> o cierta<\/span> penuria<\/span> impulsando<\/span> el proceso<\/span> creativo<\/span>. Esto<\/span> asume<\/span> la forma concreta<\/span> de un proyecto<\/span> de escritura<\/span>: el fantasma<\/span> propone a Lucy escribir<\/span> una<\/span> biograf\u00eda<\/span> suya<\/span>. Lucy escribir\u00e1<\/span> la historia<\/span> de la vida<\/span> del capit\u00e1n<\/span> Gregg, historia<\/span> que<\/span> el propio<\/span> fantasma<\/span> le dicta. \u00bfQu\u00e9<\/span> quiere<\/span> decir<\/span> esto<\/span>? Que<\/span> en el fondo<\/span> del proceso<\/span> creativo<\/span> aut\u00e9ntico<\/span> nunca<\/span> est\u00e1<\/span> meramente<\/span> la propia<\/span> voz<\/span>, sino<\/span> la voz<\/span> de un duende<\/span>, un esp\u00edritu<\/span>, un fantasma<\/span>. Pero<\/span> no nos confundamos<\/span>: este<\/span> fantasma<\/span> es<\/span> nuestro<\/span> <\/i>fantasma<\/span>; la voz<\/span> nos habla<\/span> precisamente<\/span> a nosotros<\/span><\/i>; el m\u00e9rito<\/span> permanece<\/span> inalterado<\/span>. La voz<\/span> fantasmal<\/span> se necesita<\/span> para<\/span> superar<\/span> la parcialidad<\/span> del propio<\/span> punto<\/span> de vista. Si el fantasma<\/span> es<\/span> un hombre intr\u00e9pido<\/span>, la obra<\/span> ser\u00e1<\/span> intr\u00e9pida<\/span>, aunque<\/span> no seamos<\/span> hombres ni<\/span> seamos<\/span> intr\u00e9pidos<\/span> nosotros<\/span> mismos<\/span>; si<\/span> es<\/span> un individuo<\/span> \u00edntegro<\/span>, honesto<\/span> y valeroso<\/span>, tambi\u00e9n<\/span> lo ser\u00e1<\/span> la creaci\u00f3n<\/span>, aunque<\/span> no lo seamos<\/span> nosotros<\/span> (la Lucy de la vida<\/span> real es<\/span> demasiado<\/span> mojigata<\/span> para<\/span> usar<\/span> las<\/span> palabras<\/span> que<\/span> sin embargo escribe<\/span>). Lo que<\/span> hace<\/span> del artista<\/span> artista<\/span>, lo que<\/span> hace<\/span> al escritor<\/span> capaz<\/span> de escribir<\/span> –y por<\/span> esto<\/span> hemos<\/span> hablado<\/span> de fenomenolog\u00eda<\/span> del acto<\/span> creativo–<\/span> es<\/span> siempre<\/span> algo<\/span> m\u00e1s<\/span> grande<\/span> que<\/span> \u00e9l<\/span> mismo<\/span>. El escritor<\/span> nunca<\/span> escribe<\/span> como<\/span> \u00e9l<\/span> mismo<\/span>, sino<\/span> siempre<\/span> como<\/span> otro<\/span>; el escritor<\/span>, en cuanto<\/span> escritor<\/span>, escucha<\/span> una<\/span> voz<\/span> que<\/span> no es<\/span> meramente<\/span> su<\/span> voz<\/span>, constre\u00f1ida<\/span> como<\/span> todas<\/span> por<\/span> las<\/span> fronteras<\/span> de la propia<\/span> existencia<\/span>, sino<\/span> la voz<\/span> de algo<\/span> distinto<\/span>, algo<\/span> que<\/span> ha vivido<\/span> m\u00e1s<\/span>, que<\/span> ha visto<\/span> m\u00e1s<\/span>, que<\/span> es<\/span> capaz<\/span> de m\u00e1s<\/span> que<\/span> uno<\/span> mismo<\/span>. El fantasma<\/span> que<\/span> dicta a Lucy la historia<\/span> de su<\/span> vida<\/span> es<\/span> la vieja<\/span> musa<\/span> griega<\/span> habl\u00e1ndole<\/span> al poeta<\/span>. Es<\/span> por<\/span> esto<\/span> que<\/span> al final de la pel\u00edcula<\/span> Lucy tiene<\/span> la impresi\u00f3n<\/span> de que<\/span> el libro<\/span> no pudo<\/span> haberlo<\/span> escrito<\/span> ella<\/span> (I never could have thought of it<\/i>). Y es<\/span> por<\/span> esto<\/span> tambi\u00e9n<\/span> que<\/span> la presunta<\/span> prueba<\/span> de existencia<\/span> aportada<\/span> al final de la pel\u00edcula<\/span> (tambi\u00e9n<\/span> la ni\u00f1a<\/span> sab\u00eda<\/span> del fantasma<\/span>) no nos hace<\/span> falta<\/span>, quiz\u00e1<\/span> incluso<\/span> nos sobre<\/span> (la pregunta<\/span> por<\/span> si<\/span> un fantasma<\/span> existe<\/span> es<\/span> ociosa<\/span>: el fantasma<\/span> es<\/span> irreal<\/span>, es<\/span> ilusi\u00f3n<\/span>, es<\/span> la ilusi\u00f3n<\/span> de todo<\/span> artista<\/span> verdadero<\/span>).<\/p>\n

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\tAdquiere<\/span> aqu\u00ed<\/span> pleno<\/span> sentido<\/span> la caracterizaci\u00f3n<\/span> del fantasma<\/span>. Pues<\/span> \u00bfqui\u00e9n<\/span> fue<\/span> al fin y al cabo<\/span> el capit\u00e1n<\/span> Gregg? Un marino<\/span>, un esp\u00edritu<\/span> libre<\/span>, un hombre que<\/span> ha vivido<\/span> m\u00e1s<\/span> all\u00e1<\/span> de la simple sensatez<\/span> de los hombres ordinarios<\/span>, los hombres que<\/span> abren<\/span> comercios<\/span> y se quedan<\/span> en tierra<\/span> en lugar<\/span> de hacerse<\/span> a la mar; un hombre que<\/span> ha tenido<\/span> las<\/span> agallas<\/span> de vivir<\/span>, un hombre que<\/span> ha puesto<\/span> su<\/span> vida<\/span> en juego<\/span>. Porque<\/span> s\u00ed<\/span>, el fantasma<\/span> est\u00e1<\/span> mucho<\/span> m\u00e1s<\/span> vivo que<\/span> los vivos<\/span> en la medida<\/span> en que<\/span> ha vivido<\/span> plenamente<\/span>, es<\/span> decir<\/span>, no ha esquivado<\/span> la vida<\/span> escondido<\/span> en un sof\u00e1<\/span> de piel<\/span>. No ha rehusado<\/span> el peligro<\/span>. No ha huido<\/span> de la soledad<\/span>. No se ha privado<\/span> de la belleza<\/span>. Ha visto<\/span> el Cabo<\/span> Norte. Ha visto<\/span> el sol<\/span> de medianoche<\/span>. Es<\/span> precisamente<\/span> este<\/span> marino<\/span> que<\/span> ha vivido<\/span> <\/i>quien<\/span> hace<\/span> de Lucy Lucia, un nombre<\/span> de reina<\/span> o de amazona<\/span>. \u00a0<\/i><\/p>\n

\t\u00a0<\/p>\n

\tCon la publicaci\u00f3n<\/span> del libro<\/span> el sue\u00f1o<\/span> del artista<\/span> se termina<\/span> (You’ve been dreaming, dreaming of a sea captain<\/i>). Se produce entonces<\/span> un despertar<\/span> a la realidad<\/span> desde<\/span> el hechizo<\/span>, as\u00ed<\/span> como<\/span> un giro en la trama<\/span>. Entra<\/span> en escena<\/span> una<\/span> nueva<\/span> figura<\/span>, y todo<\/span> ya<\/span> pasa<\/span> a ser<\/span> vida<\/span> corriente<\/span> y moliente<\/span>, vida<\/span> real, por<\/span> tanto<\/span>, vida<\/span> decepcionada<\/span> y desenga\u00f1ada<\/span>. El hombre no ficticio<\/span> del que<\/span> Lucy se enamora<\/span> (y se enamora<\/span> de \u00e9l<\/span> porque<\/span> no es<\/span> ficticio<\/span>) no ha hecho<\/span> otra<\/span> cosa<\/span> que<\/span> venderle<\/span> uno<\/span> de sus<\/span> cuentos<\/span> para<\/span> ni\u00f1os<\/span>, un cuento<\/span> muy<\/span> trillado<\/span> y muy<\/span> malo<\/span> en realidad<\/span>. Cuando<\/span> Lucy reconoce<\/span> el enga\u00f1o<\/span> la pel\u00edcula<\/span> se precipita<\/span> hacia<\/span> el final. En su<\/span> vida<\/span> no pasa<\/span> realmente<\/span> nada una<\/span> vez<\/span> que<\/span> el fantasma<\/span> (la magia<\/span>, la viveza<\/span>, la ilusi\u00f3n<\/span>) ha desaparecido<\/span>.\u00a0<\/p>","protected":false},"excerpt":{"rendered":"

La trama de The Ghost and Mrs. Muir arranca\u00a0de la decisi\u00f3n que toma Lucy Muir de vivir por fin una vida propia (I’ve never had a life of my own). Como no pod\u00eda ser de otra manera, esta decisi\u00f3n implica una ruptura con el espacio en el que estaba instalada. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[72],"tags":[],"class_list":["post-5889","post","type-post","status-publish","format-standard","hentry","category-opinion"],"yoast_head":"\nThe Ghost and Mrs. Muir o en qu\u00e9 consiste el sue\u00f1o creativo - Revista Rambla<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistarambla.com\/en\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Ghost and Mrs. Muir o en qu\u00e9 consiste el sue\u00f1o creativo - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"La trama de The Ghost and Mrs. Muir arranca\u00a0de la decisi\u00f3n que toma Lucy Muir de vivir por fin una vida propia (I’ve never had a life of my own). Como no pod\u00eda ser de otra manera, esta decisi\u00f3n implica una ruptura con el espacio en el que estaba instalada. […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revistarambla.com\/en\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\/\" \/>\n<meta property=\"og:site_name\" content=\"Revista Rambla\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/revistarambla\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-09-09T07:42:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i1.wp.com\/www.revistarambla.com\/wp-content\/uploads\/2014\/09\/Aida_muir_revRambla01.jpg?fit=682%2C450&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"682\" \/>\n\t<meta property=\"og:image:height\" content=\"450\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:site\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\\\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#\\\/schema\\\/person\\\/4a5652fc8c82df1f8593002d038cd79e\"},\"headline\":\"The Ghost and Mrs. Muir o en qu\u00e9 consiste el sue\u00f1o creativo\",\"datePublished\":\"2014-09-09T07:42:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\\\/\"},\"wordCount\":1478,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2014\\\/09\\\/Aida_muir_revRambla01.jpg\",\"articleSection\":[\"Opiniones\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.revistarambla.com\\\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\\\/\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/the-ghost-and-mrs-muir-o-en-que-consiste-el-sueno-creativo\\\/\",\"name\":\"The Ghost and Mrs. Muir o en qu\u00e9 consiste el sue\u00f1o creativo - 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