When Theater Wins by Knock Out
DOI:
https://doi.org/10.17533/udea.elc.14450Keywords:
Rubiano, Fabio, Teatro Petra, dramaturgy, Colombian theatre, violenceAbstract
The present work is based on a critical reading of some of Fabio Rubiano's dramatist work (1963), as well as on a staging of the Teatro Petra. It is intended as a search of thematic or aesthetic lines to establish points of his production, which allow us to come to a conclusion about the writer's and the drama group's interests.
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References
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Garavito, Lucía. (2000). “El teatro colombiano: caleidoscopio de nuevos rostros, nuevas voces”, Latin American Theatre Review, 34(1), 66-78.
González Cajiao, Fernando. (1992). “Los años ochenta en Colombia: el de-recho a ser distintos”, Latin American Theatre Review, 25(2), 37-58.
Jaramillo de Velasco, María Mercedes. (1992). El nuevo teatro colombiano: arte y política. Medellín: Editorial Universidad de Antioquia.
Pardo Acosta, Jorge Manuel. (1996). “Del teatro político a las vertientes posmodernas: desarrollo del teatro colombiano (1960-1995), Universi-tas Humanistica, 25(43-44), 63-71
---. (1989). “Teatro colombiano: síntesis de treinta años”. En: Giorgio Antei (ed.). Rutas del teatro: ensayos y diccionario teatral. Bogotá: Universi-dad Nacional de Colombia, (s/p).
Pulecio, Mariño, Enrique. (2007). Estado del arte área de arte dramático en Bogotá D. C. Bogotá: Alcaldía Mayor de Bogotá.
Rubiano, Fabio. (1995). “Amores simultáneos”, Gestus, 6, 85-96.
---. (1998). Cada vez que ladran los perros. Bogotá: Ministerio de Cultura de Colombia.
---. (2005a). Mosca. Bogotá: Universidad Distrital Francisco José de Caldas.
---. (2005b). La penúltima cena. Medellín: Editorial Universidad de Antioquia.
Sierra P., León. (2004). “Conversación con Fabio Rubiano. De Mosca a Los puntos cardinales”. Primer acto. Cuadernos de investigación teatral, 306, 127-132.
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