La reescritura y la cita en el teatro platense: Donnantuoni, Catani y Sánchez
Since the mid-1980s, dramaturgical forms started changing in La Plata’s theatrical field: from collective creation to adaptation, different operations were implemented as dramaturgical criteria. Since 2001, new dramatic operations were incorporated as well. Based on a dramaturgy of the actor, forms...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
| Publicado: |
Facultad de Filosofía y Letras, Universidad de Buenos Aires
2016
|
| Materias: | |
| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/3149 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=3149_oai |
| Aporte de: |
| Sumario: | Since the mid-1980s, dramaturgical forms started changing in La Plata’s theatrical field: from collective creation to adaptation, different operations were implemented as dramaturgical criteria. Since 2001, new dramatic operations were incorporated as well. Based on a dramaturgy of the actor, forms such as found footage (appropriation), quote and rewriting have come into play when building dramaturgical maps that allow the staging of classical plays. This paper focuses its study on three ways to stage Shakespeare classics: Tira de prueba, by Hierba Roja Teatro group; Si es amor de verdad, me dirás cuánto entonces, written and directed by Beatriz Catani and Quico García, and Macbeth, directed by Omar Sánchez. |
|---|