La comedia en la organización de las fuerzas teatrales: Tucumán, 1954-1966. El caso Julio Ardiles Gray
In Tucuman, in the years 1954-1966, theatrical productive forces develop a series of projects that allow them to, first, to organize, second, and an incipient manner, establish their own logic of operation. Thus, the farce is a poetic strategy unchanged, with noticeable cultural relevance to contrib...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2010
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/9216 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=9216_oai |
| Aporte de: |
| Sumario: | In Tucuman, in the years 1954-1966, theatrical productive forces develop a series of projects that allow them to, first, to organize, second, and an incipient manner, establish their own logic of operation. Thus, the farce is a poetic strategy unchanged, with noticeable cultural relevance to contribute to strengthening the ideals of the Movement of Independent Theatre. From this perspective, the dramatic of Julio Ardiles Gray effectively operates as an aesthetic model. |
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