A play of doubtful authorship is included in Agustín Moreto’s Tercera parte de comedias: Empezar a ser amigos is a play about a common theme in Spanish Golden Age theatre, i.e. loyalty between friends that love the same woman. The play is conserved in a suelta whose author is Juan Pérez de Montalbán but also in two manuscripts and a print edition all ascribed to Moreto. The research presents an hypothesis of dating and debates the question of authorship. Together with the philological and critical instruments, we analyse the play with package Stylo in order to support with stylometry the thesis that Empezar a ser amigos is a play written in collaboration between Calderón, Rojas Zorrilla y Montalbán.En la Tercera parte de comedias de Moreto ...
Emilio Carballido tenía la convicción de que el teatro es una herramienta pedagógica capaz de formar...
according to the practice of re-writing previous plays, Moreto composes El Eneas de Dios based on Lo...
In this article I will study the hagiographic play Barlaán y Josafat, by Lope de Vega, from two diff...
A play of doubtful authorship is included in Agustín Moreto’s Tercera parte de comedias: Empezar a s...
Agustín Moreto (1618-1669) one of the six outstanding dramatists of Spain's Golden Age, has been rep...
El príncipe perseguido offers an interesting example of theatrical rewriting. The comedia was writte...
The story of Saint Theodora of Alexandria served as the basis for two Spanish Golden Age plays: Andr...
The huge dramatic corpus of the Spanish Golden Age still poses problems of authorship in a large num...
The corpus of the biblical plays of the Spanish Golden Age is very limited compared to the enormous ...
Los problemas de autoría son frecuentes en el teatro clásico español, y se agravan en el caso de com...
We expose three attribution problems in several cases of doubtful authorship in the theater of the S...
The article presents the coincidence of a styleme on three comedies written in collaboration by seve...
la historia del teatro occidental ha dado muestras de la compleja red de disputas por la autoría ent...
Ruth Lee Kennedy, in her The Dramatic Art of Moreto (1932), pointed out eleven comedies by Moreto th...
The use of scenery resources and stage machinery has been scarcely studied in the specific case of A...
Emilio Carballido tenía la convicción de que el teatro es una herramienta pedagógica capaz de formar...
according to the practice of re-writing previous plays, Moreto composes El Eneas de Dios based on Lo...
In this article I will study the hagiographic play Barlaán y Josafat, by Lope de Vega, from two diff...
A play of doubtful authorship is included in Agustín Moreto’s Tercera parte de comedias: Empezar a s...
Agustín Moreto (1618-1669) one of the six outstanding dramatists of Spain's Golden Age, has been rep...
El príncipe perseguido offers an interesting example of theatrical rewriting. The comedia was writte...
The story of Saint Theodora of Alexandria served as the basis for two Spanish Golden Age plays: Andr...
The huge dramatic corpus of the Spanish Golden Age still poses problems of authorship in a large num...
The corpus of the biblical plays of the Spanish Golden Age is very limited compared to the enormous ...
Los problemas de autoría son frecuentes en el teatro clásico español, y se agravan en el caso de com...
We expose three attribution problems in several cases of doubtful authorship in the theater of the S...
The article presents the coincidence of a styleme on three comedies written in collaboration by seve...
la historia del teatro occidental ha dado muestras de la compleja red de disputas por la autoría ent...
Ruth Lee Kennedy, in her The Dramatic Art of Moreto (1932), pointed out eleven comedies by Moreto th...
The use of scenery resources and stage machinery has been scarcely studied in the specific case of A...
Emilio Carballido tenía la convicción de que el teatro es una herramienta pedagógica capaz de formar...
according to the practice of re-writing previous plays, Moreto composes El Eneas de Dios based on Lo...
In this article I will study the hagiographic play Barlaán y Josafat, by Lope de Vega, from two diff...