{"id":19,"date":"2020-06-13T17:36:18","date_gmt":"2020-06-13T15:36:18","guid":{"rendered":"http:\/\/angelfacio.com\/?page_id=19"},"modified":"2020-07-15T01:24:51","modified_gmt":"2020-07-14T23:24:51","slug":"dramaturgia","status":"publish","type":"page","link":"https:\/\/angelfacio.com\/index.php\/dramaturgia\/","title":{"rendered":"Dramaturgia"},"content":{"rendered":"\t\t
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\u00c1ngel Facio ha considerado que, en cualquier caso, los textos originales deben ser intervenidos en funci\u00f3n del tiempo y del espacio que les separen de la actualidad. \u00abUna vez detectada la carcoma en el original, apenas resta proponer soluciones congruentes. Soluciones que vendr\u00e1n dictadas por un concepto de puesta en escena\u00bb (A.F. nota de \u00abA puerta cerrada\u00bb. Versi\u00f3n libre Huis Clos de J.P. Sartre<\/em>).<\/p>

A trav\u00e9s de esta p\u00e1gina se puede acceder a las versiones correspondientes en formato pdf.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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  • Historia de un soldado<\/span><\/em><\/strong>, de Ramuz y\u00a0Stravinsky.<\/em> 1961.\u00a0<\/span><\/li>
  • Halewyn<\/span><\/em><\/strong>,de Ghelderode<\/strong>.<\/em> 1963.<\/span><\/li>
  • La hip\u00f3tesis y Architruque<\/span><\/em><\/strong>,<\/strong> de\u00a0Pinget.<\/em> 1965.<\/span><\/li>
  • Los justos<\/span><\/em><\/strong>, de Camus.<\/em><\/strong> 1964.<\/span><\/li>
  • Los amantes pueriles<\/span><\/em><\/strong>, de Crommelynck<\/em>.\u00a01964<\/span><\/li>
  • El gran dios Brown<\/span><\/em><\/strong>, de O’Neill.<\/em> 1964.<\/span><\/li>
  • Ubu encadenado<\/span><\/em><\/strong>, de Jarry<\/em><\/strong>. 1965<\/span><\/li>
  • \u00bfEh, Joe?<\/span>, <\/span>Palabras\u00a0y m\u00fasica<\/span>, y <\/span>Vaiv\u00e9n<\/span><\/em><\/strong>,<\/em><\/strong>\u00a0de Beckett. 1966.<\/span><\/li>
  • Strip-tease\u00a0<\/span>y <\/span>En alta mar<\/span><\/strong><\/em>,<\/strong><\/em>\u00a0de Mrozek. 1967.<\/span><\/li>
  • El reh\u00e9n<\/span><\/em><\/strong>,<\/em><\/strong>\u00a0de BrendanBehan.<\/span><\/li>
  • Emmanuel, espect\u00e1culo cr\u00edtico para una Navidad<\/span><\/i><\/span>.\u00a01964.<\/span><\/li>
  • La puerta en las narices<\/span><\/i><\/span>, de Borchert.\u00a01965.<\/span><\/li>
  • Antes del\u00a0desayuno<\/span><\/i><\/span>, de O\u2019Neill. 1965.<\/span><\/span><\/li>
  • Ceremonia\u00a0por un negro asesinado<\/span><\/i><\/span>, de Arrabal.\u00a01966.<\/span><\/li>
  • Historias\u00a0de Juan de Buenalma<\/span><\/i><\/span>, de Lope de\u00a0Rueda. 1968.<\/span><\/li>
  • La boda de los peque\u00f1os burgueses<\/span><\/i><\/span>, de\u00a0Brecht. 1970.<\/span><\/li>
  • San Donju\u00e1n<\/span><\/i><\/span>, collage de cl\u00e1sicos\u00a0castellanos. 1971.<\/span><\/li>
  • El preceptor<\/span><\/i><\/span>, de Lenz. 1974.<\/span><\/li>
  • La noche de los asesinos<\/span><\/i><\/span>, de Triana.\u00a01975.<\/span><\/li>
  • El balc\u00f3n<\/span><\/i><\/span>, de Genet. 1977.<\/span><\/li>
  • La se\u00f1orita Marga<\/span><\/i><\/span>, de Athayde. 1978.<\/span><\/li>
  • Tragicomedia de Calisto y Melibea<\/span><\/i><\/span>, de Rojas.\u00a0<\/span>1978.<\/span><\/li>
  • Las bragas<\/span><\/i><\/span>, de Sternheim. 1979.<\/span><\/li>
  • Hamlet, <\/span><\/i><\/span>de Shakespeare.\u00a0<\/span>1983.<\/span><\/li>
  • Romance de lobos<\/span><\/i><\/span>, de Valle-Incl\u00e1n. 1983.<\/span><\/li>
  • Las criadas<\/span><\/i><\/span>, de Genet. 1984.<\/span><\/li>
  • Enrique\u00a0IV\u00a0<\/span><\/i><\/span>(1\u00aa parte)<\/span>,\u00a0<\/span><\/span>de Shakespeare.\u00a0<\/span>1984<\/span><\/li>
  • Enrique\u00a0IV<\/span><\/i><\/span>\u00a0<\/span>(2\u00aa\u00a0parte)<\/span>,\u00a0<\/span><\/span>de\u00a0Shakespeare. 1984<\/span>.<\/span><\/span><\/li>
  • No hay burlas con Calder\u00f3n<\/span><\/i><\/span>, collage\u00a0de textos de Calder\u00f3n. 1985.<\/span><\/li>
  • Toda a nudez ser\u00e1 castigada<\/span><\/i><\/span>, de\u00a0Rodrigues. 1986.<\/span><\/li>
  • Los cuernos de Don Friolera<\/span><\/i><\/span>, de\u00a0Valle-Incl\u00e1n. 1986.<\/span><\/li>
  • A puerta cerrada<\/span><\/i><\/span>, de Sartre. 1988.<\/span><\/li>
  • Don Juan Tenorio<\/span><\/i><\/span>, de Zorrilla. 1989.<\/span><\/li>
  • Ella<\/span><\/i><\/span>,\u00a0de Genet. 1990.<\/span><\/li>
  • Macbeth<\/span><\/i><\/span>,\u00a0de Shakespeare. Versi\u00f3n para \u00abFura delsBaus\u00bb. 1993.<\/span><\/li>
  • Desventuras conyugales de Bartolom\u00e9 Morales<\/span><\/i><\/span>, a\u00a0partir de Ruzante. 1994.<\/span><\/li>
  • Mosc\u00fa Cercan\u00edas<\/span><\/i><\/span>, dramatizaci\u00f3n de una\u00a0novela de V. Erofeiev. 1995.<\/span><\/li>
  • Fuente Ovejuna<\/span><\/i><\/span>, de Lope de Vega. 1995 y\u00a02001.<\/span><\/li>
  • Castigando la neurona<\/span><\/i><\/span>, de Jules Pfeiffer.\u00a01997.<\/span><\/li>
  • La noche de los asesinos,\u00a0<\/span><\/i><\/span>(2\u00aa\u00a0versi\u00f3n) de Triana. 1997.<\/span><\/li>
  • Elogio de\u00a0la paciencia<\/span><\/i><\/span>, de Vaclav Havel.\u00a01998.<\/span><\/li>
  • Don\u00a0Juan de Carillana<\/span><\/i><\/span>, de Jacinto Grau.\u00a01998.<\/span><\/li>
  • Y<\/span><\/span>o,\u00a0Mart\u00edn Lutero<\/span><\/i><\/span>, de Ricardo L\u00f3pez\u00a0Aranda. 1999.<\/span><\/li>
  • La\u00a0noche de Madame Lucienne<\/span><\/i><\/span>, de Copi.\u00a02000.<\/span><\/li>
  • Ant\u00edgona\u00a0en Nueva York<\/span><\/i><\/span>, de Janusz Glowacki.\u00a02001.<\/span><\/li>
  • La\u00a0eterna canci\u00f3n<\/span><\/i><\/span>,\u00a0<\/span><\/span>de Fern\u00e1ndez de Sevilla y Soroz\u00e1bal. 2004.<\/span><\/li>
  • Tirano\u00a0Banderas<\/span><\/i><\/span>, de Valle-Incl\u00e1n. 2004.\u00a0<\/span><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    <\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

    \u00c1ngel Facio ha considerado que, en cualquier caso, los textos originales deben ser intervenidos en funci\u00f3n del tiempo y del espacio que les separen de la actualidad. \u00abUna vez detectada la carcoma en el original, apenas resta proponer soluciones congruentes. Soluciones que vendr\u00e1n dictadas por un concepto de puesta en escena\u00bb (A.F. nota de \u00abA […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_canvas","meta":{"footnotes":""},"class_list":["post-19","page","type-page","status-publish","hentry"],"yoast_head":"\nDramaturgia - \u00c1ngel Facio<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/angelfacio.com\/index.php\/dramaturgia\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dramaturgia - \u00c1ngel Facio\" \/>\n<meta property=\"og:description\" content=\"\u00c1ngel Facio ha considerado que, en cualquier caso, los textos originales deben ser intervenidos en funci\u00f3n del tiempo y del espacio que les separen de la actualidad. \u00abUna vez detectada la carcoma en el original, apenas resta proponer soluciones congruentes. 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