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dc.contributor.authorVACCARI, Debora
dc.date.accessioned2022-06-01T12:25:42Z
dc.date.available2022-06-01T12:25:42Z
dc.date.issued2021
dc.identifierONIX_20220601_9788855182249_675
dc.identifier.issn2704-5919
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/56490
dc.description.abstractThe debate about to what extent the comedia nueva can and should be modified for the contemporary scene has always been very lively. In order to understand the different positions about this issue, I study the work of the Compañía Nacional de Teatro Clásico by analyzing four versions of two different comedies, El perro del hortelano and El burlador de Sevilla, with the aim of finding out how the different adapters have worked and the way they have proceeded over time.
dc.languageSpanish
dc.relation.ispartofseriesStudi e saggi
dc.subject.otherSiglo de Oro
dc.subject.otherCompañía Nacional de Teatro Clásico
dc.subject.otherversion
dc.subject.otherEl perro del hortelano
dc.subject.otherEl burlador de Sevilla
dc.titleChapter La edición de textos para las compañías hoy: algunos ejemplos del trabajo de la Compañía Nacional de Teatro Clásico
dc.typechapter
oapen.identifier.doi10.36253/978-88-5518-224-9.06
oapen.relation.isPublishedBybf65d21a-78e5-4ba2-983a-dbfa90962870
oapen.relation.isbn9788855182249
oapen.series.number218
oapen.pages33
oapen.place.publicationFlorence


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