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Teatro en tiempos de pandemia: apuntes para una teoría de la distancia social como categoría estética
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
<p>La pandemia surgida a raíz de la covid-19 ha provocado una amplia demanda y oferta de respuestas e interpretaciones sobre la situación actual. En el campo artístico, el confinamiento ha fomentado la extimidad y ha gratificado una serie de iniciativas comunitarias y relacionales más o menos performativas. Los balcones, conectados, registrados y compartidos a través de dispositivos móviles en tiempo real, se han resignificado como espacios para la participación en rituales y prácticas culturales de carácter colectivo. En concreto, me propongo reflexionar en este artículo sobre la performance y la estética relacional en una situación de posconfinamiento y reconfinamiento; es decir, sometidas a lógicas como la distancia social u otros protocolos de comportamiento higiénico y responsable. En este sentido, destacaré la metamorfosis de la performance, nacida bajo el signo de la crítica de marcos institucionales, en una de las principales vías para la producción/expresión comunitaria.</p>...
<p>The Covid-19 pandemic has generated a broad supply and demand of “responses” to and interpretations of the current situation. In the artistic field, lockdown has fostered extimacy and rewarded a series of more or less performative “community” and relational initiatives. Balconies, linked or recorded and shared through mobile phones in real time, have been redefined as spaces for participation in rituals and cultural practices of a collective nature. Specifically, in this article my aim is to reflect on performance and relational aesthetics in a lockdown and post-lockdown situation; that is, subject to logics such as social distancing or other protocols of sanitary and responsible behaviour. In this respect, I will emphasise the metamorphosis of performance, born under the sign of criticism of institutional frameworks, into one of the main channels of community production/expression.</p>...
<p>The Covid-19 pandemic has generated a broad supply and demand of “responses” to and interpretations of the current situation. In the artistic field, lockdown has fostered extimacy and rewarded a series of more or less performative “community” and relational initiatives. Balconies, linked or recorded and shared through mobile phones in real time, have been redefined as spaces for participation in rituals and cultural practices of a collective nature. Specifically, in this article my aim is to reflect on performance and relational aesthetics in a lockdown and post-lockdown situation; that is, subject to logics such as social distancing or other protocols of sanitary and responsible behaviour. In this respect, I will emphasise the metamorphosis of performance, born under the sign of criticism of institutional frameworks, into one of the main channels of community production/expression.</p>...
Editorial
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2021, Núm. 46
Open Access
El Principal de València i les representacions teatrals en valencià durant el segle XIX
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>The Principal Theatre was inaugurated in 1832 and soon became a meeting-place of the new Valencian bourgeoisie. Around it, other establishments appeared which opened their doors to a less select public: among others ...
El «Musiktheater»: la ópera como espectáculo
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«En attendant Godot»: communication ou incommunication? Une étude du langage de Beckett...
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«Laura i la Ciutat dels Sants»: realitat i ficció
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
«Laura a la Ciutat dels Sants»: el pas d'una novel·la a una obra de teatre .
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
Miquel Llor. Cronologia
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
Bibliografia
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
Laura a la Ciutat dels Sants [dramatúrgia]
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
Dues trobades amb «L'avi».
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
La Fédération Internationale pour la Recherche Théátrale; Olegario Junyent, o la sensibilidad constructiva, por Guillermo Díaz-Plaja; La mujer vestida de hombre en el teatro español, por Bartolomé Olsina
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1957, Núm. 1
Open Access
Paisatge amb variacions de l'escenografia francesa
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>The distrust of the theatre in the Italian manner has been followed by its revaluation; this coincides with a revival of the interest in image and distance to the detriment of the search for contact and intimacy with the audience. However, the return to the theatre in the Italian manner does not correspond with the disappearance of works about non-theatrical spaces. Image and theatre only prevail over contact and place. Priorities have changed. The experiences of Arianne Mnouchkine at the Cartoucherie, and those of André Engel and Nicky Rieti, who look for new spaces for each performance, reveal this trend. Other directors, such as Roger Planchan and Jean-Pierre Vincent, have addressed painters of the «new figuration» for their scenographies. Patrice Chéreau and Richard Peduzzi have prefered the «utopian architectures » recreating places that upset for their ambiguity although they seem familiar. For Peter Brook, on the contrary, architecture becomes scenography. Antaine Vitez and Yannis Kokkos reconstruct the «state of theatre» as it were a «state of mind». In the French scenography there is a confrontation between these two ways: the true and the false. The return to the use of the curtain is symptomatic of the return to the image of theatre created by the passing of time: a theatre of imagination and secrecy, a theatre of distance and nota theatre of proximity.</p>...
La Sátira del «bel canto» en el sainete inédito de don Ramón de la Cruz; «El italiano fingido».
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1964, Núm. 10
Open Access
Notas para el centenario de Lope de Vega
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Estudis escènics: quaderns de l'Institut del Teatre. 1963, Núm. 9
Open Access
Teatro hispánico del período románico
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Estudis escènics: quaderns de l'Institut del Teatre. 1963, Núm. 9
Open Access
Los antiguos corrales de España
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Estudis escènics: quaderns de l'Institut del Teatre. 1965, Núm. 11
Open Access
Strindberg en España
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Estudis escènics: quaderns de l'Institut del Teatre. 1963, Núm. 9
Open Access
Perfil del teatro romántico español
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1963, Núm. 8
Open Access
Teatre jove i dramatúrgies no textuals. Noves formes d'escriptura dramàtica
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>Si, a l’inici del nou segle, una generació de dramaturgs va renovar el repertori textual català, vint anys després, moltes companyies emergents tendeixen a escriure col·lectivament els seus espectacles en comptes de posar en escena textos ja existents. La seva és, sovint, una escriptura híbrida, multidisciplinà· ria, generada durant el procés d’investigació i de creació. La tendència s’ha estès també entre els centres educatius que fan entrar a les aules les arts es· cèniques i la creació contemporània a les aules.</p><p>L’objectiu d’aquest estudi és observar els contextos de ‘coescriptura’, col· lectiva o comunitària, predominants en la creació emergent. Comprovar si el text hi té pes o si el desinterès pels textos sorgits després del 2000 és o no real. La metodologia ha consistit a realitzar enquestes a companyies joves (emergents i no), a professionals que treballen les arts escèniques als instituts i a altres que potencien la creació jove/ emergent a través de residències. Se’ls ha consultat sobre creació col·lectiva, l’obra dramàtica textual catalana o la multidisciplinarietat.</p><p>Els resultats acrediten que la necessitat de treballar empeny els nous graduats a formar companyia i assumir tots els rols de la creació; que l’horitzontalitat que defineix aquestes companyies deriva d’una crisi de jerarquia, però també d’una demanda concreta: l’anhel de l’intèrpret de ser subjecte creatiu, i no objecte; que la incorporació d’eines tecnològiques respon al fet que els nous creadors són natius digitals, i que la ‘coescriptura’ és la manera més eficaç d’introduir l’alumnat de secundària i batxillerat en un procés de creació. <strong> </strong></p>...
<p>Although at the start of the new century a generation of playwrights renewed the Catalan text-based repertoire, twenty years later many emerging companies tend to collectively write their shows instead of staging already existing plays. Theirs is often a hybrid, multidisciplinary writing, established during the research and creation process. This trend has also spread among schools, which welcome the performing arts and contemporary creation in their classrooms.</p><p>The objective of this study is to look at the contexts of collective or community ‘co-writing’ that prevail in emerging creation and to check if the text plays a major role or whether the lack of interest in texts that has emerged since 2000 is real.</p><p>The methodology has involved conducting questionnaires among youth companies (emerging or not), professionals working in the performing arts in secondary schools, and others who promote youth/emerging creation through residencies. They have been asked about collective creation, Catalan text-based playwriting or multidisciplinarity.</p><p>The results show that the need to work makes new graduates form a company and take on all the roles of creation; that the horizontality that defines these companies comes from a crisis of hierarchy but also a specific demand: the desire of the performer to be a creative subject rather than an object; that the incorporation of technology tools is due to the fact that the new creators are digital natives, and that ‘co-writing’ is the most efficient way to introduce secondary students to a process of creation.</p>...
<p>Although at the start of the new century a generation of playwrights renewed the Catalan text-based repertoire, twenty years later many emerging companies tend to collectively write their shows instead of staging already existing plays. Theirs is often a hybrid, multidisciplinary writing, established during the research and creation process. This trend has also spread among schools, which welcome the performing arts and contemporary creation in their classrooms.</p><p>The objective of this study is to look at the contexts of collective or community ‘co-writing’ that prevail in emerging creation and to check if the text plays a major role or whether the lack of interest in texts that has emerged since 2000 is real.</p><p>The methodology has involved conducting questionnaires among youth companies (emerging or not), professionals working in the performing arts in secondary schools, and others who promote youth/emerging creation through residencies. They have been asked about collective creation, Catalan text-based playwriting or multidisciplinarity.</p><p>The results show that the need to work makes new graduates form a company and take on all the roles of creation; that the horizontality that defines these companies comes from a crisis of hierarchy but also a specific demand: the desire of the performer to be a creative subject rather than an object; that the incorporation of technology tools is due to the fact that the new creators are digital natives, and that ‘co-writing’ is the most efficient way to introduce secondary students to a process of creation.</p>...
Fragmentació d’una cultura: la política lingüística dels teatres valencians a partir d’un repàs de les produccions teatrals des del 2008 fins al 2021
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>Quina és la situació del teatre en català al País Valencià? Es considera que el teatre valencià forma part del conjunt del teatre català? Per respondre aquestes preguntes caldrà fer abans un breu recorregut per les ...
Els paisatges lingüístics del teatre català contemporani (2008-2021)
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Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>El concepte de paisatge lingüístic prové de l’etnolingüística i la sociolingüística per referir-se a la visibilitat de les diverses llengües que conviuen en un territori determinat i la necessitat de cartografiar-ne la ...
«Crimen en la Catedral» y el drama poético moderno en Inglaterra
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Estudis escènics: quaderns de l'Institut del Teatre. 1960, Núm. 6
Open Access
Dissolució
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>Des de la revisió de diversos projectes escènics on l’autor ha participat entre 2000 i 2021, es proposa una reflexió sobre el vincle que s’estableix entre el concepte d’autoria i els processos i models de producció ...
La dramatúrgia professional en un context hostil
Article
Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>Les crisis no són cap oportunitat. Les crisis són moments de gran dificultat, d'incertesa i de dolor. La nostra feina, l'escriptura teatral o la dramatúrgia, és una professió fràgil i de naturalesa incerta, però també ...
Retòriques de l’ansietat, i de la pietat. Brots del 2021: teatre, cinema, assaig, narrativa, poesia
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Estudis escènics: quaderns de l'Institut del Teatre. 2022, Núm. 47
Open Access
<p>L’article identifica tendències en calent en textos artístics del 2021, i les articula des d’una hipòtesi hermenèutica transversal: la centralitat d’una —prevalent— Retòrica de l’ansietat, contrapesada per una —dialèctica— ...
El teatre de Carme Montoriol i Puig
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 25
Open Access
<p>Carme Montoriol Puig was born in Barcelona in 1893 and died there in 1966. A self-taught woman, she studied music and foreign languages. She acquired a thorough knowledge of French, Italian, German and English. From the latter language, she translated the complete sonnets of Shakespeare into Catalan, which she also handled perfectly, in their correlatively equivalent meter. She also translated plays by Shakespeare: Cymbeline and Twelfth Night of What You Will, both edited by Publicacions La Revista, and works by Pirandello, Barrie and Leona Stravis. In the field of narrative prose, she translated novels by Rudyard Kipling, Osear Wilde and Maurice Baring into Catalan, as well as No pasarán (story of the siege of Madrid) by Upton Sinclair. She wrote and published her own novels, Terese, o la vida amorosa d'una dona (Terese, or Laves of a Worman) and Diumenge de julio[ (Sunday in July). She was also prominent as a lecturer and devoted president of the Lyceum Club.</p>
<p>As a playwright she produced the following works: L'abisme (The Abyss) (1936), L'huracà (The Hurricane) (1935), Avarícia (Greed) (1936) and Tempesta esvaïda (Quelled Storm) (1956). The last of these was an operette with music by J Joaquim Serra. The first three belong to the realm of bourgeois drama. They are realistic works with one foot on the threshold of naturalism. One decognizes the influence of Ibsen, whose works she knew well. The theories of Freud also run through the works, especially L'huracà (The Hurricane). This work was received as scandalous by the society of her day, because it dealt with the theme of son in love with mother/woman. The critics vehemently disagreed, some in favor of her, some against her, but they all had to admit that this work, like the other two, possessed unquestionable literary merit.</p>
<p>In 1939 she went into exile, but soon returned homesick to Catalonia; notwithstanding, her pen, like that of many other writers of her time, remained inactive for the rest of her life.</p>...
Efectes de «Realidad»
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
«Alma y Vida», obra fonamental del teatre de Galdós
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
Benito Pérez Galdós. «Quien mal hace, bien no espere». Introducció
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
L'aparició cinematogràfica de Joan Brossa. Una conversa amb Pere Portabella
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Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 16
Open Access
El meu Joan Brossa
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Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 16
Open Access
Obres i articles de Miquel Llor
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 20
Open Access
La dramaturgia catalana medieval. Urgencia de una valoración
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Estudis escènics: quaderns de l'Institut del Teatre. 1958, Núm. 3
Open Access
Teatro, historia y sociedad agraria
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Estudis escènics: quaderns de l'Institut del Teatre. 1969, Núm. 13
Open Access
Valle-Inclán entre Galicia y Brecht
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Estudis escènics: quaderns de l'Institut del Teatre. 1969, Núm. 13
Open Access
«El rei Joan». Traducció de Josep Maria de Sagarra
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Estudis escènics: quaderns de l'Institut del Teatre. 1973, Núm. 17
Open Access
Circumstàncies temporals de la «Electra» de Galdós
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
La poesia visual de Joan Brossa. Suscitador de la segona avantguarda pictòrica
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Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 16
Open Access
A la cerca del teatre de Galdós
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
Les arrels del teatre de Joan Brossa
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Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 16
Open Access
Notes i impressions sobre el teatre de Benito Pérez Galdós
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
Frègoli, Brossa i el «music hall»
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Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 16
Open Access
Galdós descendeix als inferns
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
Temes i procediments de la poesia de Joan Brossa
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Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 16
Open Access
Ètica i política al teatre de Galdós. Aproximació a «Casandra» i «Sor Simona»
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Estudis escènics: quaderns de l'Institut del Teatre. 1974, Núm. 18
Open Access
Sis respostes de Peter Brook
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Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>During Peter Brook's stay in Barcelona, owing to the performance of his version of the opera Carmen, the English director had a conversation with the students and teachers of the Institut del Teatre. For more than an ...
Estrenes al Teatro Romea de Barcelona. I. Setembre-decembre de 1865
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Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 15
Open Access
Los entremesespost-cervantinos de la Biblioteca y Museo del Instituto del Teatro de Barcelona
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Estudis escènics: quaderns de l'Institut del Teatre. 1971, Núm. 14
Open Access
Ramon Vinyes, o una víctima del Noucentisme
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Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 15
Open Access
És possible reproduir el nas de Cleópatra?
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Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>Theatre has often wondered if it is possible to reproduce history. Shakespeare, Schiller and Victor Hugo tried to achieve this purpose and, from another point of view, · on November the 7th 1920, six thousand actors commemorated the October Revolution. In Catalonia, the following plays represented recent landmarks of the review of history through theatre: Capmany and Romeu's Layret, Jordi Teixidor's Rebombori-2, Alfred Badia's Una croada, etc. Historical theatre is still able to exert the triple function that Shakespeare expected from it: its being productive, at the same time, from the economic, artistic and politic point of view. Lunatcharski, when explaining the reasons why he wrote his 86 Olivier Cromwell, asserted: «What interested me was —the question of the leader's psychology and, mainly, that of a revolutionary leader.» The third basic level of analysis of historical theatre is the one which causes most problems of, Iet us say, epistemological kind. Performing history on the stage means the possibility of making real the tunnel of time. The improvement of scenic technology also gives us the possibility of the deceit based on the illusion of the past: Belasco in The Girl of the Golden West spent three months in reproducing a «Californian» sunset. Historical cinema from Hollywood employed similar proceedings to the Romantics. Nontheless, theatre is not the reproduction of reality, but the creation of an unreal world useful to men's life. Brecht in Mother Courage does not deal with the Thirty Years War; he refers to one of the most serious problems which concerned his contemporaries. This does not mean at all that the playwright and bis collaborators neglect the historical strictness or the scientific knowledge of the past.</p>...
La vida dels objectes
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>The human being maintains a specially intense relationship with everything concerning time and space. The natural surrounding as well as the inanimated universe which surround him are perfect mute interlocutors, cause and effect of a great part of his activity. The structural and functional complexity of the environment has in its theatrical reproduction almost the same importance as human behaviour.</p>
<p>Theatrical practice has traditionally created guild divisions between setting, atrezzo and tools, corresponding to more or less systematical groups of objects, according to their size and function, within a technical judgment which, during the performance, separates the objects introduced by the characters themselves from those placed on the stage by other means. It could be said that this mechanical tradition arisen from the practice is better, in some of its systematization aspects, than many present theories about objects.</p>
<p>This work, under six epigraphs —«The Surrounding: from the Social Context to the Scenic Context», «Scenic Function of Objets», «Recognition of the Dramatic Role of Objects», «The Private Object», «The Aleatory Sign» and «Scenic Obligations»—, examines dramatically the representation of the social surrounding, according to the different scenic functions of objects and proposes a scheme of the working of the dramatic role of objects, from the study of the influence of personal accessories on the dramatic action in five recent Catalan adaptations for the stage: Guimerà's Maria Rosa, staged by John Strasberg; Brossa's Cavall al fans, staged by Jordi Mesalles; Genet's El balcó, staged by Lluís Pasqual; Labiche's El més feliç dels tres and Wilde's La importància de ser Franc, both staged by Jaume Melendres.</p>...
La via del refús
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>In 1938, in Moscow, the 40th anniversary of Stanislavski's Theatre of Art was celebrated. Today, we can see in Stanislavski's attitude the example of how to behave before a prime secretary or army men regardless of their ...
Informe sobre política teatral del Departament de Cultura de la Generalitat
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>The Departament de Cultura (Culture Department) of the Generalitat de Catalunya issued at the end of 1984 a long document summarizing the present situation of theatre and pointing out the lines of immediate action. In ...
Xavier Portabella , amic, advocat i astróleg
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1985, Núm. 27
Open Access
<p>During the 40's the Catalan theatrical life was restrained, for —till 1946— the censorship did not allow any performance in catalan. In spite of this, secret activities, such as H those taking place in the studio of the painter Xavier Portabella, activities which have not been reported till today, were carried out. Xavier Portabella was acquainted with the theatrical circle of the pre-war period; his studio was roomy and many people used to gather there far conversation. The painter's friends could go to these meetings freely and many of them even had the key of his apartment. Since he belonged to that social circle, Portabella was persuaded to write a play, El caragol i la corbata, from which we publish a passage, preceded by an evocation from his friend Terri.</p>...
L’escenografia de Fabià Puigserver
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>The Catalan scenographer and theatrical director Fabià Puigserver has created more than a hundred scenographic and wardrobe projects, mainly for shows produced in Catalonia but also for ones in Madrid and beyond the Spanish border. Internationally he is probably best-known for his contribution to Víctor García's staging of Yerma by García Lorca. Fabià Puigserver stands in the first rank among those who have dedicated themselves over the past twenty years to the revival of the Catalan theatre. From the last years of the Agrupació Dramàtica de Barcelona (ADB) to the peak years of the Escola d'Art Dramàtic Adrià Gual (EADAG) at the present Teatre Lliure in Barcelona which he co-founded, he has collaborated in bringing up to date many dramatic concepts that go beyond the limits of mere stage decoration. This article penetrates into his prolific work through analysis of his popularity and achievements and measures the conclusions of critics against the author's own opinions of the material studied. This double review of all of Fabià Puigserver's scenographic work also constitutes an absorbing general reflection on the technique and theory of space, wardrobe and stage materials and contributes to the study of a fundamental piece within the evolution of the contemporary Catalan stage.</p>...
Contribució a la bibliografia de Valle-Inclán
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1972, Núm. 15
Open Access
Dansa i emancipació: el teatre de dansa de Wuppertal
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Estudis escènics: quaderns de l'Institut del Teatre. 1984, Núm. 24
Open Access
<p>When Pina Bausch took over the direction of the Wuppertal Dance Theatre in the 1973-1974 season, German ballet broke off in a new direction. Her work grew steadily more distanced from the dance concepts of classical ...
O teatro galego, de esguello. (Notas ceibes encol da nosa vida teatral)
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1975, Núm. 19
Open Access
Un «Romance» di J. Pérez de Montalbán sul tema della morte
Article
Estudis escènics: quaderns de l'Institut del Teatre. 1975, Núm. 19
Open Access