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dc.contributor.authorBellomi, Paola
dc.date.accessioned2024-04-02T15:49:03Z
dc.date.available2024-04-02T15:49:03Z
dc.date.issued2023
dc.identifierONIX_20240402_9791221502787_155
dc.identifier.issn2975-0229
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/89186
dc.languageSpanish
dc.relation.ispartofseriesStudi di letterature moderne e comparate
dc.subject.classificationthema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies
dc.subject.otherContemporary Spanish theatre
dc.subject.otherviolence
dc.subject.otherArab-Israeli conflict
dc.subject.otherwar
dc.subject.otherMarco Magoa
dc.subject.otherAurora Mateos
dc.subject.otherLuis Matilla
dc.titleChapter La violencia obscena, la violencia en escena: los conflictos en el Oriente Medio en el teatro español contemporáneo
dc.typechapter
oapen.abstract.otherlanguageContemporary Spanish theatre has sporadically dealt with recent or ongoing conflicts in the Middle East, but with extremely interesting results: Palestinians, Israelis, Iraqis, Moroccans, Syrians are characters that appear in texts such as El suicidio del ángel by Aurora Mateos (2007), Bajo el cielo de Gaza by Luis Matilla (2015) or Mare Nostrum, finis somnia vuestra by Marco Magoa (2016). Violence is, unfortunately, the red thread that binds an otherwise heterogeneous production in terms of verbal and theatrical language. The contribution aims to investigate the expressive modes through which the obscenity of war, conflicts, clashes, blood, wounds are brought to the stage.
oapen.identifier.doi10.36253/979-12-215-0278-7.03
oapen.relation.isPublishedBybf65d21a-78e5-4ba2-983a-dbfa90962870
oapen.relation.isbn9791221502787
oapen.imprintUSiena Press
oapen.series.number3
oapen.pages15
oapen.place.publicationFlorence


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