Tweets\u00a0\u00a0\u00a0\u00a0 \u200f@arrabalf\u00a0 =<\/p>\n
autre arrabalesque:\u00a0 … m\u00eame le plus lascif des puisatiers voudrait v\u00eatir la V\u00e9rit\u00e9 nue<\/p>\n
…incluso el m\u00e1s voluptuoso\u00a0 de\u00a0 los poceros quisiera vestir a la Verdad desnuda<\/p>\n
_________________<\/p>\n
de PAOLA BELLOMI :<\/strong><\/p>\n \u00ab\u00a0PANICO! LA CREAZIONE SECONDO FERNANDO ARRABAL<\/strong><\/p>\n La vita e l\u2019opera di un apolide libertario\u00a0\u00bb<\/strong><\/p>\n Alessandria,<\/p>\n ***<\/strong><\/p>\n Arrabal, autore di se stesso<\/strong><\/p>\n En este cap\u00edtulo conecto la importancia de su biograf\u00eda no s\u00f3lo con su obra (lo cual es algo ya asumido por la cr\u00edtica), sino tambi\u00e9n con su persona: la idea es que Usted opere la liberaci\u00f3n del individuo tanto a trav\u00e9s de los personajes (entes ficticios) que viven en su teatro como a trav\u00e9s de su misma persona, que responde al nombre de Fernando Arrabal (persona real). En esta operaci\u00f3n que yo llamo \u201cperformance biogr\u00e1fica\u201d se asiste a la teatralizaci\u00f3n de su Yo: por eso concluyo, contestando a los que insin\u00faan que Usted ya casi no escribe obras nuevas porque su imaginaci\u00f3n se ha secado, afirmando que la misma representaci\u00f3n que Usted da como personaje p\u00fablico es un work in progress, o sea un trabajo creador sin fin en el que el sujeto de la obra de arte ya no es \u201cFando\u201d o \u201cFanchu\u201d, sino es \u201cFernando Arrabal\u201d.<\/p>\n Rito<\/strong><\/p>\n En este cap\u00edtulo afirmo que la tarea del arte, como la de la ciencia, es suscitar dudas, preguntas, reflexiones, nuevos planteamientos. Por eso retomo una afirmaci\u00f3n suya en la que dice que la provocaci\u00f3n es algo infantil e in\u00fatil, con lo cual las acusaciones de pornograf\u00eda etc. que le han dirigido en muchas ocasiones no tienen cabida puesto que interpreto la violencia que est\u00e1 presente en sus obras como un aviso para el espectador\/lector, que tendr\u00eda que escandalizarse por las guerras reales y no por una representaci\u00f3n teatral. A partir de este punto de vista, explico la importancia del rito como principio estructural de su teatro en relaci\u00f3n con el sentido teatral de la vida. La conclusi\u00f3n es que la ceremonia sirva para denunciar la alienaci\u00f3n de la sociedad moderna.<\/p>\n Ragione e calcolo<\/strong><\/p>\n Desde que conoc\u00ed su obra me ha llamado la atenci\u00f3n la presencia constante de las matem\u00e1ticas en sus escritos; en este cap\u00edtulo intento desarrollar una l\u00ednea com\u00fan entre su afici\u00f3n por las teor\u00edas matem\u00e1ticas y su obra. Por eso le hab\u00eda escrito hace un par de semanas pregunt\u00e1ndole por la novela \u201cSuites espectrales\u201d escrita junto con los hermanos Kahn. Me parece poder afirmar que hay una relaci\u00f3n profunda entre la interpretaci\u00f3n de la realidad que el pensamiento matem\u00e1tico le permite y su escritura dram\u00e1tica, por ejemplo en la repetici\u00f3n de episodios o di\u00e1logos en obras diferentes o la estructura por fragmentos que vislumbro en su dramaturgia.<\/p>\n Anarco-arrabalismo<\/strong><\/p>\n Aqu\u00ed estudio la conexi\u00f3n entre su pensamiento pol\u00edtico y su obra dram\u00e1tica, en relaci\u00f3n tambi\u00e9n a las cartas que Usted escribi\u00f3 a los hombres poderosos de la tierra (\u00a1me doy cuenta ahora que faltan cartas a las poderosas de la tierra! Me imagino que ser\u00e1 por respetar tanto a las mujeres \u2013 \u201cDios es una mujer\u201d, creo que escribi\u00f3 en alg\u00fan lugar). Entonces, rechazo las acusaciones de escapismo que le dirigieron porque sus obras desmienten una tal opini\u00f3n.<\/p>\n Bont\u00e0 \/ Bondage<\/strong><\/p>\n En este cap\u00edtulo analizo algunas caracter\u00edsticas de los personajes de su obra, en particular planteo un paralelismo entre la enfermedad de Cavanosa y su personal experiencia de la tubercolosis, a partir del famoso texto de Susan Sontag \u201cIllness as metaphor\u201d sobre el c\u00e1ncer. En este caso tambi\u00e9n la conclusi\u00f3n es que los personajes son los int\u00e9rpretes de la b\u00fasqueda de libertad que todo individuo tendr\u00eda que emprender, aunque el camino est\u00e9 cubierto por clavos.<\/p>\n Arti<\/strong><\/p>\n Aqu\u00ed presento un estudio sobre su cine (en el que veo alguna semejanza con la teor\u00eda tot\u00e9mica de Freud) y a\u00f1ado algunas ideas m\u00e1s sobre su relaci\u00f3n con otros lenguajes art\u00edsticos, como la pintura y la fotograf\u00eda; en particular me detengo en su actual colaboraci\u00f3n con mi muy estimada Christ\u00e8le Jacob.<\/p>\n Linneo o il bestiario arrabalesco<\/strong><\/p>\n Otro aspecto que ha despertado mi curiosidad es la presencia constante del mundo animal en su obra; aqu\u00ed retomo algunos brillantes estudios de su mujer, Luce, y solo me aproximo al tema: estoy consciente de que habr\u00eda que profundizar mucho m\u00e1s esta l\u00ednea interpretativa, pero all\u00ed est\u00e1n las semillas.<\/p>\n ___________<\/strong><\/p>\n Bibliografia<\/strong> , \u00a029, \u00a0pp. \u00a05-\u00ad\u201018. ____ \u00a0(2007), \u00a0\u00abMitio\u0303icacio\u0301n \u00a0y \u00a0desacralizacio\u0301n. \u00a0La \u00a0o\u0303igura \u00a0de \u00a0la \u00a0madre \u00a0en \u00a0Los \u00a0dos \u00a0verdugos \u00a0de ____________________<\/p>\n","protected":false},"excerpt":{"rendered":" Tweets\u00a0\u00a0\u00a0\u00a0 \u200f@arrabalf\u00a0 = autre arrabalesque:\u00a0 … m\u00eame le plus lascif des puisatiers voudrait v\u00eatir la V\u00e9rit\u00e9 nue …incluso el m\u00e1s voluptuoso\u00a0 de\u00a0 los poceros quisiera vestir a la Verdad desnuda _________________ de PAOLA BELLOMI : \u00ab\u00a0PANICO! LA CREAZIONE SECONDO FERNANDO ARRABAL La vita e l\u2019opera di un apolide libertario\u00a0\u00bb Alessandria, *** Arrabal, autore di se stesso En este cap\u00edtulo conecto la importancia de su biograf\u00eda no s\u00f3lo con su obra (lo cual es algo ya asumido por la cr\u00edtica), sino tambi\u00e9n con su persona: la idea es que Usted opere la liberaci\u00f3n del individuo tanto a trav\u00e9s de los personajes (entes ficticios) que viven en su teatro como a trav\u00e9s de su misma persona, que responde al nombre de Fernando Arrabal (persona real). En esta operaci\u00f3n que yo llamo \u201cperformance biogr\u00e1fica\u201d se asiste a la teatralizaci\u00f3n de su Yo: por eso concluyo, contestando a los que insin\u00faan que Usted ya casi no escribe obras nuevas porque su imaginaci\u00f3n se ha secado, afirmando que la misma representaci\u00f3n que Usted da como personaje p\u00fablico es un work in progress, o sea un trabajo creador sin fin en el que el sujeto de la obra de arte ya no es \u201cFando\u201d o \u201cFanchu\u201d, sino es \u201cFernando Arrabal\u201d. Rito En este cap\u00edtulo afirmo que la tarea del arte, como la de la ciencia, es suscitar dudas, preguntas, reflexiones, nuevos planteamientos. Por eso retomo una afirmaci\u00f3n suya en la que dice que la provocaci\u00f3n es algo infantil e in\u00fatil, con lo cual las acusaciones de pornograf\u00eda etc. que le han dirigido en muchas ocasiones no tienen cabida puesto que interpreto la violencia que est\u00e1 presente en sus obras como un aviso para el espectador\/lector, que tendr\u00eda que escandalizarse por las guerras reales y no por una representaci\u00f3n teatral. A partir de este punto de vista, explico la importancia del rito como principio estructural de su teatro en relaci\u00f3n con el sentido teatral de la vida. La conclusi\u00f3n es que la ceremonia sirva para denunciar la alienaci\u00f3n de la sociedad moderna. Ragione e calcolo Desde que conoc\u00ed su obra me ha llamado la atenci\u00f3n la presencia constante de las matem\u00e1ticas en sus escritos; en este cap\u00edtulo intento desarrollar una l\u00ednea com\u00fan entre su afici\u00f3n por las teor\u00edas matem\u00e1ticas y su obra. Por eso le hab\u00eda escrito hace un par de semanas pregunt\u00e1ndole por la novela \u201cSuites espectrales\u201d escrita junto con los hermanos Kahn. Me parece poder afirmar que hay una relaci\u00f3n profunda entre la interpretaci\u00f3n de la realidad que el pensamiento matem\u00e1tico le permite y su escritura dram\u00e1tica, por ejemplo en la repetici\u00f3n de episodios o di\u00e1logos en obras diferentes o la estructura por fragmentos que vislumbro en su dramaturgia. Anarco-arrabalismo Aqu\u00ed estudio la conexi\u00f3n entre su pensamiento pol\u00edtico y su obra dram\u00e1tica, en relaci\u00f3n tambi\u00e9n a las cartas que Usted escribi\u00f3 a los hombres poderosos de la tierra (\u00a1me doy cuenta ahora que faltan cartas a las poderosas de la tierra! Me imagino que ser\u00e1 por respetar tanto a las mujeres \u2013 \u201cDios es una mujer\u201d, creo que escribi\u00f3 en alg\u00fan lugar). Entonces, rechazo las acusaciones de escapismo que le dirigieron porque sus obras desmienten una tal opini\u00f3n. Bont\u00e0 \/ Bondage En este cap\u00edtulo analizo algunas caracter\u00edsticas de los personajes de su obra, en particular planteo un paralelismo entre la enfermedad de Cavanosa y su personal experiencia de la tubercolosis, a partir del famoso texto de Susan Sontag \u201cIllness as metaphor\u201d sobre el c\u00e1ncer. En este caso tambi\u00e9n la conclusi\u00f3n es que los personajes son los int\u00e9rpretes de la b\u00fasqueda de libertad que todo individuo tendr\u00eda que emprender, aunque el camino est\u00e9 cubierto por clavos. Arti Aqu\u00ed presento un estudio sobre su cine (en el que veo alguna semejanza con la teor\u00eda tot\u00e9mica de Freud) y a\u00f1ado algunas ideas m\u00e1s sobre su relaci\u00f3n con otros lenguajes art\u00edsticos, como la pintura y la fotograf\u00eda; en particular me detengo en su actual colaboraci\u00f3n con mi muy estimada Christ\u00e8le Jacob. Linneo o il bestiario arrabalesco Otro aspecto que ha despertado mi curiosidad es la presencia constante del mundo animal en su obra; aqu\u00ed retomo algunos brillantes estudios de su mujer, Luce, y solo me aproximo al tema: estoy consciente de que habr\u00eda que profundizar mucho m\u00e1s esta l\u00ednea interpretativa, pero all\u00ed est\u00e1n las semillas. ___________ Bibliografia Alcala\u0301, \u00a0Manuel \u00a0(1971), \u00a0\u00abEl \u00a0grito \u00a0de \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0ABC, \u00a003\/07, \u00a0p. \u00a054. Alonso \u00a0de \u00a0Santos, \u00a0Jose\u0301 \u00a0Luis \u00a0(1999), \u00a0\u00abEl \u00a0autor \u00a0espan\u0303ol \u00a0en \u00a0el \u00a0o\u0303in \u00a0de \u00a0siglo\u00bb,\u00a0 \u00a0Cuadernos \u00a0 Hispanoamericanos, \u00a0592, \u00a0pp. \u00a021-\u00ad\u201028. Alted,\u00a0 \u00a0 Alicia\u00a0 \u00a0 (1995),\u00a0 \u00a0 \u00abEducation\u00a0 \u00a0 and\u00a0 \u00a0 Political\u00a0 \u00a0 Control\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Helen\u00a0 \u00a0 Graham,\u00a0 \u00a0\u00a0 \u00a0 Jo\u00a0 \u00a0 Labanyi,\u00a0 \u00a0 edd., \u00a0Spanish \u00a0Cultural \u00a0Studies. \u00a0An \u00a0Introduction. \u00a0The \u00a0Struggle \u00a0for \u00a0Modernity, \u00a0Oxford, \u00a0Oxford \u00a0 University \u00a0Press, \u00a0pp. \u00a0196-\u00ad\u2010200. Amela, \u00a0Vi\u0301ctor \u00a0M. \u00a0(2004), \u00a0\u00ab\u201cEl \u00a0hombre \u00a0es \u00a0rai\u0301z \u00a0cuadrada \u00a0de \u00a0cero\u201d, \u00a0entrevista \u00a0a \u00a0Fernando \u00a0 Arrabal\u00bb,\u00a0 \u00a0Resonancias,\u00a0 \u00a0 114,\u00a0 \u00a0 02\/01,\u00a0 \u00a0http:\/\/www.resonancias.org\/article\/read\/157\/el-\u00ad\u2010 hombre-\u00ad\u2010es-\u00ad\u2010raiz-\u00ad\u2010cuadrada-\u00ad\u2010de-\u00ad\u2010cero-\u00ad\u2010entrevista-\u00ad\u2010a-\u00ad\u2010fernando-\u00ad\u2010arrabal-\u00ad\u2010por-\u00ad\u2010victor-\u00ad\u2010m-\u00ad\u2010amela\/ . Arata,\u00a0 \u00a0 Luis\u00a0 \u00a0 O\u0301scar\u00a0 \u00a0 (1982),\u00a0 \u00a0The\u00a0 \u00a0 Festive\u00a0 \u00a0 Play\u00a0 \u00a0 of\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal,\u00a0 \u00a0 Lexington\u00a0 \u00a0 (Kentucky), \u00a0 The \u00a0University \u00a0Press \u00a0of \u00a0Kentucky. Arrabal, \u00a0Fernando \u00a0(1961), \u00a0\u00abTextes \u00a0paniques\u00bb, \u00a0 La \u00a0Bre\u0300che, \u00a01. ____ \u00a0(1965), \u00a0\u00abEl \u00a0hombre \u00a0pa\u0301nico\u00bb, \u00a0in \u00a0ID., \u00a0El \u00a0cementerio \u00a0de \u00a0automo\u0301viles, \u00a0Ciugrena, \u00a0Los \u00a0dos \u00a0 verdugos, \u00a0Madrid, \u00a0Primer \u00a0Acto\/Taurus, \u00a0pp. \u00a027-\u00ad\u201037. ____ \u00a0(1967), \u00a0\u00abLe \u00a0the\u0301a\u0302tre \u00a0comme \u00a0ce\u0301re\u0301monie \u00a0panique\u00bb, \u00a0in \u00a0ID., \u00a0The\u0301a\u0302tre \u00a0panique. \u00a0L\u2019Architecte \u00a0 et \u00a0l\u2019Empereur \u00a0d\u2019Assyrie, \u00a0Paris, \u00a0Bourgois, \u00a0pp. \u00a07-\u00ad\u20109. ____ \u00a0(1969a), \u00a0\u00abFernando \u00a0Arrabal \u00a0Ruiz, \u00a0mon \u00a0pe\u0300re\u00bb, \u00a0in \u00a0Alain \u00a0Schifres, \u00a0\u00a0 \u00a0Entretiens \u00a0avec \u00a0 Arrabal, \u00a0Paris, \u00a0Pierre \u00a0Belfond, \u00a0pp. \u00a0181-\u00ad\u2010183. ____ \u00a0(1969b), \u00a0\u00abLes \u00a0obsessions \u00a0de \u00a0mon \u00a0enfance\u00bb, \u00a0Les \u00a0nouvelles \u00a0litteraires, \u00a020\/02, \u00a02161, \u00a0p. \u00a0 13. ____ \u00a0 (1978),\u00a0 \u00a0Carta\u00a0 \u00a0 a\u00a0 \u00a0 los\u00a0 \u00a0 militantes\u00a0 \u00a0 comunistas\u00a0 \u00a0 espan\u0303oles\u00a0 \u00a0 (Suen\u0303o\u00a0 \u00a0 y\u00a0 \u00a0 mentira\u00a0 \u00a0 del\u00a0 \u00a0 eurocomunismo), \u00a0Barcelona, \u00a0Ediciones \u00a0Actuales. ____ \u00a0 (1981),\u00a0 \u00a0Carta\u00a0 \u00a0 a\u00a0 \u00a0 los\u00a0 \u00a0 comunistas\u00a0 \u00a0 espan\u0303oles\u00a0 \u00a0 y\u00a0 \u00a0 otras\u00a0 \u00a0 cartas\u00a0 \u00a0 (a\u00a0 \u00a0 Franco,\u00a0 \u00a0 al\u00a0 \u00a0 Rey,\u00a0 \u00a0 a \u00a0 Valladares), \u00a0Murcia, \u00a0Godoy. ____ \u00a0(1983), \u00a0Carta \u00a0a \u00a0Fidel \u00a0Castro: \u00a0\u201c1984\u201d, \u00a0Madrid, \u00a0Playdor. ____ \u00a0(1984), \u00a0\u00abLe \u00a0\u201cnouveau \u00a0racisme\u201d \u00a0de \u00a0Cuba\u00bb, \u00a0Politique \u00a0internationale, \u00a025, \u00a0pp. \u00a047-\u00ad\u201051. ____ \u00a0(1985), \u00a0\u00abMoi, \u00a0Arrabal, \u00a0peintre\u00bb, \u00a0Le \u00a0Nouvel \u00a0Observateur, \u00a013\/09, \u00a01088, \u00a0p. \u00a013. ____ \u00a0(1986), \u00a0Teatro \u00a0pa\u0301nico, \u00a0Madrid, \u00a0Ca\u0301tedra. ____ \u00a0(1993), \u00a0Carta \u00a0a \u00a0Jose\u0301 \u00a0Mari\u0301a \u00a0Aznar \u00a0(con \u00a0copia \u00a0a \u00a0Felipe \u00a0Gonza\u0301lez), \u00a0Madrid, \u00a0Espasa \u00a0Calpe. animalesche. \u00a0Cfr. \u00a0il \u00a0sito \u00a0del \u00a0convegno: \u00a0http:\/\/www.uv.es\/fernandoarrabal\/presentacion.html. 108 Paola Bellomi ____ \u00a0(1995), \u00a0Carta \u00a0al \u00a0Rey \u00a0de \u00a0Espan\u0303a, \u00a0Madrid, \u00a0Espasa \u00a0Calpe. ____ \u00a0(1997a), \u00a0\u00abLa \u00a0novi\u0301sima \u00a0\u201cteori\u0301a \u00a0de \u00a0motivos\u201d\u00bb, \u00a0ABC \u00a0Sevilla, \u00a002\/08, \u00a0p. \u00a03. ____ \u00a0(1997b), \u00a0Teatro \u00a0completo, \u00a0ed. \u00a0di \u00a0Francisco \u00a0Torres \u00a0Monreal, \u00a0Madrid, \u00a0Espasa, \u00a02 \u00a0voll. ____ \u00a0(2000), \u00a0Porte\u0301 \u00a0disparu, \u00a0Paris, \u00a0Plon. ____ \u00a0(2001a), \u00a0\u00abDeo\u0303iniciones, \u00a0jaculatorias \u00a0y \u00a0arrabalescos\u00bb, \u00a0 El \u00a0Mundo, \u00a007\/01, \u00a0p. \u00a050. ____ \u00a0(2001b), \u00a0\u00abElegi\u0301a \u00a0a \u00a0la \u00a0muerte \u00a0de \u00a0mi \u00a0madre\u00bb, \u00a0Tre\u0301bede: \u00a0Mensual \u00a0aragone\u0301s \u00a0de \u00a0ana\u0301lisis, \u00a0 opinio\u0301n \u00a0y \u00a0cultura, \u00a050, \u00a0pp. \u00a073-\u00ad\u201075. ____ \u00a0(2001c), \u00a0La \u00a0torre \u00a0herida \u00a0por \u00a0el \u00a0rayo, \u00a0Barcelona, \u00a0Bibliotex. ____ \u00a0 (2002a),\u00a0 \u00a0Carta \u00a0de \u00a0amor \u00a0(Como \u00a0un \u00a0suplicio \u00a0chino), \u00a0Alcala\u0301 \u00a0de \u00a0Henares, \u00a0Servicio \u00a0de \u00a0 Publicaciones \u00a0de \u00a0la \u00a0Universidad \u00a0de \u00a0Alcala\u0301. ____ \u00a0 (2002b),\u00a0 \u00a0 \u00abEl\u00a0 \u00a0 primer\u00a0 \u00a0 hombre\u00a0 \u00a0 del\u00a0 \u00a0 mundo\u00a0 \u00a0 fue…\u00a0 \u00a0 \u00a1una\u00a0 \u00a0 mujer!\u00bb,\u00a0 \u00a0ABC,\u00a0 \u00a0 26\/11, \u00a0 http:\/\/www.abc.es\/hemeroteca\/historico-\u00ad\u201026-\u00ad\u201011-\u00ad\u20102002\/abc\/Opinion\/el-\u00ad\u2010primer-\u00ad\u2010hombre-\u00ad\u2010 del-\u00ad\u2010mundo-\u00ad\u2010fue-\u00ad\u2010%C2%A1una-\u00ad\u2010mujer!_145989.html. ____ \u00a0(2003), \u00a0Carta \u00a0a \u00a0Stalin, \u00a0Madrid, \u00a0La \u00a0Esfera \u00a0de \u00a0los \u00a0Libros. ____ \u00a0(2004a), \u00a0Carta \u00a0de \u00a0amor \u00a0(Como \u00a0un \u00a0suplicio \u00a0chino), \u00a0Madrid, \u00a0Fundacio\u0301n \u00a0Autor. ____ \u00a0 (2004b), \u00a0\u00abSobre \u00a0el \u00a0cuadro\u00a0 \u00a0Yo \u00a0(El \u00a0gran \u00a0cine \u00a0planetario) \u00a0 de \u00a0S.M. \u00a0Fe\u0301lez, \u00a0croquis \u00a0del \u00a0 autor\u00bb, \u00a0Resonancias, \u00a0114, \u00a002\/08, \u00a0http:\/\/www.resonancias.org\/content\/read\/368\/sobre-\u00ad\u2010 el-\u00ad\u2010cuadro-\u00ad\u2010yo-\u00ad\u2010el-\u00ad\u2010gran-\u00ad\u2010cine-\u00ad\u2010planetario-\u00ad\u2010de-\u00ad\u2010sm-\u00ad\u2010felez-\u00ad\u2010croquis-\u00ad\u2010del-\u00ad\u2010autor-\u00ad\u2010por-\u00ad\u2010fernando-\u00ad\u2010 arrabal\/. ____ \u00a0(2005a), \u00a0\u00abEn \u00a0un \u00a0arrabal \u00a0junto \u00a0al \u00a0cielo \u00a0de \u00a0Nueva \u00a0York\u00bb, \u00a0El \u00a0Mundo, \u00a027\/03. ____ \u00a0(2005b), \u00a0\u00abI \u00a0vermi \u00a0brulicano \u00a0nel \u00a0suo \u00a0cervello \u00a0e \u00a0le \u00a0vespe \u00a0si \u00a0annidano \u00a0nelle \u00a0sue 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\nAlcala\u0301, \u00a0Manuel \u00a0(1971), \u00a0\u00abEl \u00a0grito \u00a0de \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0ABC, \u00a003\/07, \u00a0p. \u00a054. Alonso \u00a0de \u00a0Santos, \u00a0Jose\u0301 \u00a0Luis \u00a0(1999), \u00a0\u00abEl \u00a0autor \u00a0espan\u0303ol \u00a0en \u00a0el \u00a0o\u0303in \u00a0de \u00a0siglo\u00bb,\u00a0 \u00a0Cuadernos \u00a0 Hispanoamericanos, \u00a0592, \u00a0pp. \u00a021-\u00ad\u201028. Alted,\u00a0 \u00a0 Alicia\u00a0 \u00a0 (1995),\u00a0 \u00a0 \u00abEducation\u00a0 \u00a0 and\u00a0 \u00a0 Political\u00a0 \u00a0 Control\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Helen\u00a0 \u00a0 Graham,\u00a0 \u00a0\u00a0 \u00a0 Jo\u00a0 \u00a0 Labanyi,\u00a0 \u00a0 edd., \u00a0Spanish \u00a0Cultural \u00a0Studies. \u00a0An \u00a0Introduction. \u00a0The \u00a0Struggle \u00a0for \u00a0Modernity, \u00a0Oxford, \u00a0Oxford \u00a0 University \u00a0Press, \u00a0pp. \u00a0196-\u00ad\u2010200. Amela, \u00a0Vi\u0301ctor \u00a0M. \u00a0(2004), \u00a0\u00ab\u201cEl \u00a0hombre \u00a0es \u00a0rai\u0301z \u00a0cuadrada \u00a0de \u00a0cero\u201d, \u00a0entrevista \u00a0a \u00a0Fernando \u00a0 Arrabal\u00bb,\u00a0 \u00a0Resonancias,\u00a0 \u00a0 114,\u00a0 \u00a0 02\/01,\u00a0 \u00a0http:\/\/www.resonancias.org\/article\/read\/157\/el-\u00ad\u2010 hombre-\u00ad\u2010es-\u00ad\u2010raiz-\u00ad\u2010cuadrada-\u00ad\u2010de-\u00ad\u2010cero-\u00ad\u2010entrevista-\u00ad\u2010a-\u00ad\u2010fernando-\u00ad\u2010arrabal-\u00ad\u2010por-\u00ad\u2010victor-\u00ad\u2010m-\u00ad\u2010amela\/ . Arata,\u00a0 \u00a0 Luis\u00a0 \u00a0 O\u0301scar\u00a0 \u00a0 (1982),\u00a0 \u00a0The\u00a0 \u00a0 Festive\u00a0 \u00a0 Play\u00a0 \u00a0 of\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal,\u00a0 \u00a0 Lexington\u00a0 \u00a0 (Kentucky), \u00a0 The \u00a0University \u00a0Press \u00a0of \u00a0Kentucky.
\nArrabal, \u00a0Fernando \u00a0(1961), \u00a0\u00abTextes \u00a0paniques\u00bb, \u00a0 La \u00a0Bre\u0300che, \u00a01. ____ \u00a0(1965), \u00a0\u00abEl \u00a0hombre \u00a0pa\u0301nico\u00bb, \u00a0in \u00a0ID., \u00a0El \u00a0cementerio \u00a0de \u00a0automo\u0301viles, \u00a0Ciugrena, \u00a0Los \u00a0dos \u00a0 verdugos, \u00a0Madrid, \u00a0Primer \u00a0Acto\/Taurus, \u00a0pp. \u00a027-\u00ad\u201037. ____ \u00a0(1967), \u00a0\u00abLe \u00a0the\u0301a\u0302tre \u00a0comme \u00a0ce\u0301re\u0301monie \u00a0panique\u00bb, \u00a0in \u00a0ID., \u00a0The\u0301a\u0302tre \u00a0panique. \u00a0L\u2019Architecte \u00a0 et \u00a0l\u2019Empereur \u00a0d\u2019Assyrie, \u00a0Paris, \u00a0Bourgois, \u00a0pp. \u00a07-\u00ad\u20109. ____ \u00a0(1969a), \u00a0\u00abFernando \u00a0Arrabal \u00a0Ruiz, \u00a0mon \u00a0pe\u0300re\u00bb, \u00a0in \u00a0Alain \u00a0Schifres, \u00a0\u00a0 \u00a0Entretiens \u00a0avec \u00a0 Arrabal, \u00a0Paris, \u00a0Pierre \u00a0Belfond, \u00a0pp. \u00a0181-\u00ad\u2010183. ____ \u00a0(1969b), \u00a0\u00abLes \u00a0obsessions \u00a0de \u00a0mon \u00a0enfance\u00bb, \u00a0Les \u00a0nouvelles \u00a0litteraires, \u00a020\/02, \u00a02161, \u00a0p. \u00a0 13.
\n____ \u00a0 (1978),\u00a0 \u00a0Carta\u00a0 \u00a0 a\u00a0 \u00a0 los\u00a0 \u00a0 militantes\u00a0 \u00a0 comunistas\u00a0 \u00a0 espan\u0303oles\u00a0 \u00a0 (Suen\u0303o\u00a0 \u00a0 y\u00a0 \u00a0 mentira\u00a0 \u00a0 del\u00a0 \u00a0 eurocomunismo), \u00a0Barcelona, \u00a0Ediciones \u00a0Actuales. ____ \u00a0 (1981),\u00a0 \u00a0Carta\u00a0 \u00a0 a\u00a0 \u00a0 los\u00a0 \u00a0 comunistas\u00a0 \u00a0 espan\u0303oles\u00a0 \u00a0 y\u00a0 \u00a0 otras\u00a0 \u00a0 cartas\u00a0 \u00a0 (a\u00a0 \u00a0 Franco,\u00a0 \u00a0 al\u00a0 \u00a0 Rey,\u00a0 \u00a0 a \u00a0 Valladares), \u00a0Murcia, \u00a0Godoy.
\n____ \u00a0(1983), \u00a0Carta \u00a0a \u00a0Fidel \u00a0Castro: \u00a0\u201c1984\u201d, \u00a0Madrid, \u00a0Playdor. ____ \u00a0(1984), \u00a0\u00abLe \u00a0\u201cnouveau \u00a0racisme\u201d \u00a0de \u00a0Cuba\u00bb, \u00a0Politique \u00a0internationale, \u00a025, \u00a0pp. \u00a047-\u00ad\u201051. ____ \u00a0(1985), \u00a0\u00abMoi, \u00a0Arrabal, \u00a0peintre\u00bb, \u00a0Le \u00a0Nouvel \u00a0Observateur, \u00a013\/09, \u00a01088, \u00a0p. \u00a013. ____ \u00a0(1986), \u00a0Teatro \u00a0pa\u0301nico, \u00a0Madrid, \u00a0Ca\u0301tedra. ____ \u00a0(1993), \u00a0Carta \u00a0a \u00a0Jose\u0301 \u00a0Mari\u0301a \u00a0Aznar \u00a0(con \u00a0copia \u00a0a \u00a0Felipe \u00a0Gonza\u0301lez), \u00a0Madrid, \u00a0Espasa \u00a0Calpe.
\nanimalesche. \u00a0Cfr. \u00a0il \u00a0sito \u00a0del \u00a0convegno: \u00a0http:\/\/www.uv.es\/fernandoarrabal\/presentacion.html. 108
\nPaola Bellomi
\n____ \u00a0(1995), \u00a0Carta \u00a0al \u00a0Rey \u00a0de \u00a0Espan\u0303a, \u00a0Madrid, \u00a0Espasa \u00a0Calpe. ____ \u00a0(1997a), \u00a0\u00abLa \u00a0novi\u0301sima \u00a0\u201cteori\u0301a \u00a0de \u00a0motivos\u201d\u00bb, \u00a0ABC \u00a0Sevilla, \u00a002\/08, \u00a0p. \u00a03. ____ \u00a0(1997b), \u00a0Teatro \u00a0completo, \u00a0ed. \u00a0di \u00a0Francisco \u00a0Torres \u00a0Monreal, \u00a0Madrid, \u00a0Espasa, \u00a02 \u00a0voll. ____ \u00a0(2000), \u00a0Porte\u0301 \u00a0disparu, \u00a0Paris, \u00a0Plon. ____ \u00a0(2001a), \u00a0\u00abDeo\u0303iniciones, \u00a0jaculatorias \u00a0y \u00a0arrabalescos\u00bb, \u00a0 El \u00a0Mundo, \u00a007\/01, \u00a0p. \u00a050. ____ \u00a0(2001b), \u00a0\u00abElegi\u0301a \u00a0a \u00a0la \u00a0muerte \u00a0de \u00a0mi \u00a0madre\u00bb, \u00a0Tre\u0301bede: \u00a0Mensual \u00a0aragone\u0301s \u00a0de \u00a0ana\u0301lisis, \u00a0 opinio\u0301n \u00a0y \u00a0cultura, \u00a050, \u00a0pp. \u00a073-\u00ad\u201075. ____ \u00a0(2001c), \u00a0La \u00a0torre \u00a0herida \u00a0por \u00a0el \u00a0rayo, \u00a0Barcelona, \u00a0Bibliotex.
\n____ \u00a0 (2002a),\u00a0 \u00a0Carta \u00a0de \u00a0amor \u00a0(Como \u00a0un \u00a0suplicio \u00a0chino), \u00a0Alcala\u0301 \u00a0de \u00a0Henares, \u00a0Servicio \u00a0de \u00a0 Publicaciones \u00a0de \u00a0la \u00a0Universidad \u00a0de \u00a0Alcala\u0301. ____ \u00a0 (2002b),\u00a0 \u00a0 \u00abEl\u00a0 \u00a0 primer\u00a0 \u00a0 hombre\u00a0 \u00a0 del\u00a0 \u00a0 mundo\u00a0 \u00a0 fue…\u00a0 \u00a0 \u00a1una\u00a0 \u00a0 mujer!\u00bb,\u00a0 \u00a0ABC,\u00a0 \u00a0 26\/11, \u00a0 http:\/\/www.abc.es\/hemeroteca\/historico-\u00ad\u201026-\u00ad\u201011-\u00ad\u20102002\/abc\/Opinion\/el-\u00ad\u2010primer-\u00ad\u2010hombre-\u00ad\u2010 del-\u00ad\u2010mundo-\u00ad\u2010fue-\u00ad\u2010%C2%A1una-\u00ad\u2010mujer!_145989.html. ____ \u00a0(2003), \u00a0Carta \u00a0a \u00a0Stalin, \u00a0Madrid, \u00a0La \u00a0Esfera \u00a0de \u00a0los \u00a0Libros. ____ \u00a0(2004a), \u00a0Carta \u00a0de \u00a0amor \u00a0(Como \u00a0un \u00a0suplicio \u00a0chino), \u00a0Madrid, \u00a0Fundacio\u0301n \u00a0Autor.
\n____ \u00a0 (2004b), \u00a0\u00abSobre \u00a0el \u00a0cuadro\u00a0 \u00a0Yo \u00a0(El \u00a0gran \u00a0cine \u00a0planetario) \u00a0 de \u00a0S.M. \u00a0Fe\u0301lez, \u00a0croquis \u00a0del \u00a0 autor\u00bb, \u00a0Resonancias, \u00a0114, \u00a002\/08, \u00a0http:\/\/www.resonancias.org\/content\/read\/368\/sobre-\u00ad\u2010 el-\u00ad\u2010cuadro-\u00ad\u2010yo-\u00ad\u2010el-\u00ad\u2010gran-\u00ad\u2010cine-\u00ad\u2010planetario-\u00ad\u2010de-\u00ad\u2010sm-\u00ad\u2010felez-\u00ad\u2010croquis-\u00ad\u2010del-\u00ad\u2010autor-\u00ad\u2010por-\u00ad\u2010fernando-\u00ad\u2010 arrabal\/.
\n____ \u00a0(2005a), \u00a0\u00abEn \u00a0un \u00a0arrabal \u00a0junto \u00a0al \u00a0cielo \u00a0de \u00a0Nueva \u00a0York\u00bb, \u00a0El \u00a0Mundo, \u00a027\/03. ____ \u00a0(2005b), \u00a0\u00abI \u00a0vermi \u00a0brulicano \u00a0nel \u00a0suo \u00a0cervello \u00a0e \u00a0le \u00a0vespe \u00a0si \u00a0annidano \u00a0nelle \u00a0sue \u00a0narici\u00bb,\u00a0 \u00a0 in \u00a0Bruna \u00a0Donatelli, \u00a0ed., \u00a0Bianco \u00a0e \u00a0nero. \u00a0Nero \u00a0su \u00a0bianco. \u00a0Tra \u00a0fotograU\u0308ia \u00a0e \u00a0scrittura, \u00a0Napoli, \u00a0 Liguori, \u00a0pp. \u00a03-\u00ad\u20104.
\n____ \u00a0(2005c), \u00a0\u00abLe \u00a0jeu \u00a0du \u00a0\u201cpique-\u00ad\u2010espace\u201d \u00a0de \u00a0la \u00a0me\u0300re \u00a0Mercedes\u00bb, \u00a0 L\u2019Express, \u00a024\/04. ____ \u00a0(2006), \u00a0Viva \u00a0la \u00a0morte!, \u00a0Roma, \u00a0Raro \u00a0Video, \u00a0dvd. ____ \u00a0(2007a), \u00a0Andro\u0300 \u00a0come \u00a0un \u00a0cavallo \u00a0pazzo, \u00a0Roma, \u00a0Raro \u00a0Video, \u00a0dvd. \u00a0 ____ \u00a0(2007b), \u00a0Como \u00a0un \u00a0parai\u0301so \u00a0de \u00a0locos, \u00a0Barcelona, \u00a0Bruguera. ____ \u00a0(2007c) \u00a0Diccionario \u00a0pa\u0301nico, \u00a0Zaragoza, \u00a0Libros \u00a0del \u00a0Innombrable. ____ \u00a0(2007d), \u00a0Guernica, \u00a0Roma, \u00a0Raro \u00a0Video, \u00a0dvd.
\n____ \u00a0 (2008),\u00a0 \u00a0El\u00a0 \u00a0 pa\u0301nico.\u00a0 \u00a0 ManiU\u0308iesto\u00a0 \u00a0 para\u00a0 \u00a0 el\u00a0 \u00a0 tercer\u00a0 \u00a0 milenio,\u00a0 \u00a0 Zaragoza,\u00a0 \u00a0 Libros\u00a0 \u00a0 del \u00a0 Innombrable. ____ \u00a0(2009a), \u00a0Carta \u00a0al \u00a0general \u00a0Franco, \u00a0Co\u0301rdoba, \u00a0Se\u0301neca.
\n109
\nPaola Bellomi
\n____ \u00a0 (2009b),\u00a0 \u00a0Teatro\u00a0 \u00a0 completo,\u00a0 \u00a0 ed.\u00a0 \u00a0 di\u00a0 \u00a0 Francisco\u00a0 \u00a0 Torres\u00a0 \u00a0 Monreal,\u00a0 \u00a0 Madrid\/Burgos, \u00a0 Everest\/Instituto \u00a0Castellano \u00a0y \u00a0Leone\u0301s \u00a0de \u00a0la \u00a0Lengua, \u00a02 \u00a0voll. ____ \u00a0 (2012\/2013),\u00a0 \u00a0Dali\u0301\u00a0 \u00a0 vs.\u00a0 \u00a0 Picasso,\u00a0 \u00a0 dattiloscritto\u00a0 \u00a0 inviato\u00a0 \u00a0 dall\u2019autore\u00a0 \u00a0 nella\u00a0 \u00a0 versione \u00a0 spagnola.
\nArrabal, \u00a0Fernando; \u00a0Camacho, \u00a0Jorge \u00a0(1992),\u00a0 \u00a0El \u00a0suen\u0303o \u00a0de \u00a0los \u00a0insectos, \u00a0Huelva, \u00a0Diputacio\u0301n \u00a0 Provincial \u00a0de \u00a0Huelva. Arrabal, \u00a0Fernando; \u00a0Knapp, \u00a0Bettina \u00a0L.; \u00a0Morris, \u00a0Kelly \u00a0(1968), \u00a0\u00abAuto-\u00ad\u2010Interview\u00bb, \u00a0 The \u00a0Drama\u00a0 \u00a0 Review, \u00a013.1, \u00a0pp. \u00a073-\u00ad\u201076. Arribas, \u00a0Antonio \u00a0(1978), \u00a0\u00abArrabal, \u00a0toda \u00a0su \u00a0obra \u00a0prohibida \u00a0por \u00a0Franco\u00bb, \u00a0 Ajoblanco, \u00a022. Azanzueque-\u00ad\u2010Arrieta,\u00a0 \u00a0 Fre\u0301de\u0301ric\u00a0 \u00a0 (2008),\u00a0 \u00a0Panique.\u00a0 \u00a0 Arrabal.\u00a0 \u00a0 Jodorowsky.\u00a0 \u00a0 Topor,\u00a0 \u00a0 Paris, \u00a0 L\u2019Harmattan. Beckett, \u00a0Samuel \u00a0(1979), \u00a0\u00abCarta \u00a0de \u00a0Samuel \u00a0Beckett\u00bb, \u00a0in \u00a0A\u0301ngel \u00a0Berenguer, \u00a0Joan \u00a0Berenguer, \u00a0 edd., \u00a0Fernando \u00a0Arrabal, \u00a0Madrid, \u00a0Fundamentos, \u00a0p. \u00a0241.<\/p>\n
\nFernando \u00a0Arrabal\u00bb,\u00a0 \u00a0ALEC. \u00a0Anales \u00a0de \u00a0Literatura \u00a0Espan\u0303ola \u00a0Contempora\u0301nea, \u00a032.2, \u00a0pp. \u00a0123-\u00ad\u2010 146. ____\u00a0\u00a0 \u00a0,
\n____ \u00a0 (2012a),\u00a0 \u00a0 \u00abEl\u00a0 \u00a0 gran\u00a0 \u00a0 ceremonial\u00a0 \u00a0di\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal:\u00a0 \u00a0 il\u00a0 \u00a0 teatro\u00a0 \u00a0 come\u00a0 \u00a0 luogo\u00a0 \u00a0 di \u00a0 perversione \u00a0e \u00a0di \u00a0cura\u00bb, \u00a0in \u00a0Silvia \u00a0Monti, \u00a0ed., \u00a0Malattia \u00a0e \u00a0scrittura. \u00a0Saperi \u00a0medici, \u00a0malattie \u00a0e\u00a0 \u00a0 cure \u00a0nelle \u00a0letterature \u00a0iberiche, \u00a0Verona, \u00a0Cierre \u00a0Grao\u0303ica, \u00a0pp. \u00a0259-\u00ad\u2010290. ____ \u00a0 (2012b),\u00a0 \u00a0 \u00ab\u201cFernandito,\u00a0 \u00a0 el\u00a0 \u00a0 poeta\u201d:\u00a0 \u00a0 il\u00a0 \u00a0 teatro\u00a0 \u00a0 politico\u00a0 \u00a0 di\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Silvia\u00a0 \u00a0 Monti,\u00a0 \u00a0 Paola\u00a0 \u00a0 Bellomi,\u00a0 \u00a0 edd.,\u00a0 \u00a0Scene\u00a0 \u00a0 di\u00a0 \u00a0 vita.\u00a0 \u00a0 L\u2019impegno\u00a0 \u00a0 civile\u00a0 \u00a0 nel\u00a0 \u00a0 teatro\u00a0 \u00a0 spagnolo\u00a0 \u00a0 contemporaneo, \u00a0Alessandria, \u00a0Edizioni \u00a0dell\u2019Orso, \u00a0pp. \u00a083-\u00ad\u2010107. ____ \u00a0(in \u00a0corso \u00a0di \u00a0stampa, \u00a0a), \u00a0\u00ab\u201cYo \u00a0soy \u00a0de \u00a0Destierrolandia\u201d: \u00a0Fernando \u00a0Arrabal \u00a0y \u00a0el \u00a0li\u0301mite\u00bb, \u00a0 in\u00a0 \u00a0 Silvia\u00a0 \u00a0 Monti,\u00a0 \u00a0 ed.,\u00a0 \u00a0Frontiere,\u00a0 \u00a0 limiti,\u00a0 \u00a0 conU\u0308ini,\u00a0 \u00a0 soglie\u00a0 \u00a0 \/\u00a0 \u00a0 Fronteras,\u00a0 \u00a0 li\u0301mites,\u00a0 \u00a0 conU\u0308ines,\u00a0 \u00a0 umbrales \u00a0\/ \u00a0Boundaries, \u00a0Limits, \u00a0Borders, \u00a0Thresholds. ____ \u00a0(in \u00a0corso \u00a0di \u00a0stampa, \u00a0b), \u00a0\u00abFernando \u00a0Arrabal \u00a02.0: \u00a0el \u00a0autor \u00a0en \u00a0la \u00a0era \u00a0digital\u00bb, \u00a0in
\nBellomi,\u00a0 \u00a0 Paola\u00a0 \u00a0 (2004),\u00a0 \u00a0 \u00abL\u2019annientamento\u00a0 \u00a0 dell\u2019individuo.\u00a0 \u00a0 Attualita\u0300\u00a0 \u00a0 del\u00a0 \u00a0 primo\u00a0 \u00a0 teatro\u00a0 \u00a0 di
\nFernando \u00a0Arrabal\u00bb,
\nQuaderni \u00a0di \u00a0Lingue \u00a0e \u00a0Letterature
\n(2011),\u00a0 \u00a0 \u00ab
\nTotem\u00a0 \u00a0 e\u00a0 \u00a0 tabu\u0300:\u00a0 \u00a0 uno\u00a0 \u00a0 sguardo\u00a0 \u00a0 al\u00a0 \u00a0 cinema\u00a0 \u00a0 di\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal\u00bb
\nQuaderni\u00a0 \u00a0 di
\nLingue \u00a0e \u00a0Letterature
\n, \u00a036, \u00a0pp. \u00a026-\u00ad\u201038.
\nJean-\u00ad
\nClaude \u00a0Villegas, \u00a0ed.,
\nAutoRepre\u0301sentationS.
\nRepre\u0301sentations \u00a0de \u00a0l\u2019e\u0301crivain \u00a0dans \u00a0la \u00a0litte\u0301rature
\n,
\ncontemporaine
\nBinge,
\nEditions \u00a0Orbis \u00a0Tertius.
\n110
\nPaola Bellomi
\nBenci,\u00a0 \u00a0 Antonio\u00a0 \u00a0 (2012),\u00a0 \u00a0 \u00ab\u201cUn\u2019immagine\u00a0 \u00a0 mi\u00a0 \u00a0 o\u0303issa\u00a0 \u00a0 per\u00a0 \u00a0 sempre\u201d.\u00a0 \u00a0 La\u00a0 \u00a0 Marianna\u00a0 \u00a0 del\u00a0 \u00a0 \u201868\u00bb,\u00a0 \u00a0 Engramma, \u00a099, \u00a0luglio-\u00ad\u2010agosto, \u00a0http:\/\/www.engramma.it\/eOS\/index.php?id_articolo=78 . Benedicte,\u00a0 \u00a0 David\u00a0 \u00a0 (2009),\u00a0 \u00a0 \u00abEntrevista\u00a0 \u00a0 a\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal\u00bb,\u00a0 \u00a0 Revista\u00a0 \u00a0 XL\u00a0 \u00a0 Semanal,\u00a0 \u00a0 1155, \u00a0 13\/12, \u00a0http:\/\/xlsemanal.o\u0303inanzas.com\/web\/articulo.php?id=834&id_edicion=4767 . Beneyto, \u00a0Antonio \u00a0(1992), \u00a0\u00abArrabal \u00a0o \u00a0yo \u00a0ire\u0301 \u00a0como \u00a0un \u00a0caballo \u00a0loco\u00bb, \u00a0Barcarola, \u00a040, \u00a0pp. \u00a061-\u00ad\u2010 63.
\nBerenguer, \u00a0A\u0301ngel \u00a0(1973), \u00a0\u00abLa \u00a0segunda \u00a0peli\u0301cula \u00a0de \u00a0Arrabal\u00bb, \u00a0Triunfo, \u00a0585, \u00a0pp. \u00a072-\u00ad\u201073. ____ \u00a0(1977a), \u00a0L\u2019exil \u00a0et \u00a0la \u00a0ce\u0301re\u0301monie, \u00a0Paris, \u00a0Union \u00a0ge\u0301ne\u0301rale \u00a0d\u2019Editions. ____ \u00a0(1977b), \u00a0\u00abPreliminar\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0Baal \u00a0Babilonia, \u00a0Madrid, \u00a0Cupsa, \u00a0pp. \u00a07-\u00ad\u201023. ____ \u00a0(1979), \u00a0\u00abEntrevista \u00a0con \u00a0Arrabal. \u00a0Saratoga \u00a0Springs, \u00a01976\u00bb, \u00a0in \u00a0A\u0301ngel \u00a0Berenguer, \u00a0Joan \u00a0 Berenguer, \u00a0edd., \u00a0Fernando \u00a0Arrabal, \u00a0Madrid, \u00a0Fundamentos, \u00a0pp. \u00a031-\u00ad\u201089.
\n____ \u00a0 (1993),\u00a0 \u00a0 \u00abGe\u0301nesis\u00a0 \u00a0 postista\u00a0 \u00a0 del\u00a0 \u00a0 primer\u00a0 \u00a0 teatro\u00a0 \u00a0 de\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal, \u00a0Pic \u00a0-\u00ad \u00a0Nic, \u00a0El \u00a0triciclo, \u00a0El \u00a0laberinto, \u00a0Madrid, \u00a0Ca\u0301tedra, \u00a0pp. \u00a045-\u00ad\u201056. \u00a0 ____ \u00a0(2007), \u00a0\u00abMotivos \u00a0y \u00a0estrategias: \u00a0introduccio\u0301n \u00a0a \u00a0una \u00a0teori\u0301a \u00a0de \u00a0los \u00a0lenguajes \u00a0esce\u0301nicos\u00a0 \u00a0 contempora\u0301neos\u00bb, \u00a0Teatro, \u00a021, \u00a0pp. \u00a013-\u00ad\u201029. Berenguer, \u00a0A\u0301ngel; \u00a0Berenguer, \u00a0Joan, \u00a0edd. \u00a0(1979), \u00a0Fernando \u00a0Arrabal, \u00a0Madrid, \u00a0Fundamentos. Berenguer, \u00a0A\u0301ngel; \u00a0Chesneau, \u00a0Albert \u00a0(1978), \u00a0Plaidoyer \u00a0pour \u00a0une \u00a0diffe\u0301rence: \u00a0entretiens \u00a0avec\u00a0 \u00a0 Arrabal, \u00a0Grenoble, \u00a0Presses \u00a0Universitaires \u00a0de \u00a0Grenoble. Bertoli, \u00a0Antonio \u00a0(2008), \u00a0Panico! \u00a0Arrabal, \u00a0Jodorowsky, \u00a0Topor, \u00a0Firenze, \u00a0Giunti.
\nBorgna,\u00a0 \u00a0 Eugenio;\u00a0 \u00a0 Callieri,\u00a0 \u00a0 Bruno\u00a0 \u00a0 (1999),\u00a0 \u00a0 \u00abDelirio\u00bb,\u00a0 \u00a0Enciclopedia\u00a0 \u00a0 Treccani.it, \u00a0 http:\/\/www.treccani.it\/enciclopedia\/delirio_%28Universo_del_Corpo%29\/ ,\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0cons. \u00a0 04\/2013. Brown,\u00a0 \u00a0 Edward\u00a0 \u00a0 G.\u00a0 \u00a0 (1984),\u00a0 \u00a0 \u00abArrabal\u2019s\u00a0 \u00a0Viva\u00a0 \u00a0 la\u00a0 \u00a0 muerte! \u00a0 From\u00a0 \u00a0 Novel\u00a0 \u00a0 to\u00a0 \u00a0 Filmscript\u00bb, \u00a0 Literature \u00a0Film \u00a0Quarterly, \u00a012.2, \u00a0pp. \u00a0136-\u00ad\u201041.
\nBurgess,\u00a0 \u00a0 Anthony\u00a0 \u00a0 (2012),\u00a0 \u00a0 \u00abBurgess:\u00a0 \u00a0 \u201cPerche\u0301\u00a0 \u00a0 ho\u00a0 \u00a0 scritto\u00a0 \u00a0Arancia\u00a0 \u00a0 meccanica\u201d\u00bb,\u00a0 \u00a0la \u00a0 Repubblica.it,\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a005\/08,\u00a0\u00a0 \u00a0 \u00a0http:\/\/www.repubblica.it\/spettacoli-\u00ad\u2010e-\u00ad\u2010 cultura\/2012\/08\/05\/news\/burgess_perch_ho_scritto_arancia_meccanica-\u00ad\u201040367532\/? ref=HREC1-\u00ad\u20105. Caillois, \u00a0Roger \u00a0(1981), \u00a0I \u00a0giochi \u00a0e \u00a0gli \u00a0uomini: \u00a0la \u00a0maschera \u00a0e \u00a0la \u00a0vertigine, \u00a0Milano, \u00a0Bompiani.
\n____ \u00a0(2001), \u00a0L\u2019uomo \u00a0e \u00a0il \u00a0sacro, \u00a0Torino, \u00a0Bollati \u00a0Bordighieri. Cantalapiedra,\u00a0 \u00a0 Fernando\u00a0 \u00a0 (1997),\u00a0 \u00a0 \u00abEn\u00a0 \u00a0 una\u00a0 \u00a0 noche\u00a0 \u00a0 obscura\u00a0 \u00a0 o\u00a0 \u00a0El\u00a0 \u00a0 gran\u00a0 \u00a0 ceremonial\u00bb,\u00a0 \u00a0 in \u00a0 Fernando\u00a0 \u00a0 Cantalapiedra;\u00a0 \u00a0 Francisco\u00a0 \u00a0 Torres\u00a0 \u00a0 Monreal,\u00a0 \u00a0 edd.,\u00a0 \u00a0 El\u00a0 \u00a0 teatro\u00a0 \u00a0 de\u00a0 \u00a0 vanguardia\u00a0 \u00a0 de
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\nFernando \u00a0Arrabal, \u00a0Kassel, \u00a0Reichenberger, \u00a0pp. \u00a0117-\u00ad\u2010159. Carrio\u0301n,\u00a0 \u00a0 Ignacio\u00a0 \u00a0 (1992),\u00a0 \u00a0 \u00abEntrevista\u00a0 \u00a0 de\u00a0 \u00a0 Ignacio\u00a0 \u00a0 Carrio\u0301n\u00a0 \u00a0 a\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal\u00bb,\u00a0 \u00a0 Blog\u00a0 \u00a0 de\u00a0 \u00a0 Ignacio \u00a0Carrio\u0301n, \u00a029\/03, \u00a0http:\/\/www.ignaciocarrion.com\/ampliaArticulos.aspx?id=31 . Carter, \u00a0Angela \u00a0(1986), \u00a0 \u00a0La \u00a0donna \u00a0sadiana, \u00a0Milano, \u00a0Feltrinelli. Ceccarelli,\u00a0 \u00a0 Filippo\u00a0 \u00a0 (2012),\u00a0 \u00a0 \u00abLa\u00a0 \u00a0 bella\u00a0 \u00a0 Marianna\u00a0 \u00a0 del\u00a0 \u00a0 maggio\u00a0 \u00a0 francese\u00a0 \u00a0 e\u00a0 \u00a0 i\u00a0 \u00a0 segreti\u00a0 \u00a0 delle\u00a0 \u00a0 icone\u00bb, \u00a0Il \u00a0Venerdi\u0300 \u00a0di \u00a0Repubblica, \u00a01275, \u00a024\/08, \u00a0p. \u00a07. Chao, \u00a0Ramo\u0301n \u00a0(1971), \u00a0\u00abArrabal, \u00a0cineasta\u00bb, \u00a0Triunfo, \u00a0466, \u00a0p. \u00a049. Chesneau,\u00a0 \u00a0 Albert\u00a0 \u00a0 (1984),\u00a0 \u00a0De\u0301cors\u00a0 \u00a0 et\u00a0 \u00a0 de\u0301corum.\u00a0 \u00a0 Enque\u0302te\u00a0 \u00a0 sur\u00a0 \u00a0 les\u00a0 \u00a0 objets\u00a0 \u00a0 dans\u00a0 \u00a0 le\u00a0 \u00a0 the\u0301a\u0302tre\u00a0 \u00a0 d\u2019Arrabal, \u00a0Que\u0301bec, \u00a0Naaman. Cortelazzo, \u00a0Manlio; \u00a0Zolli, \u00a0Paolo, \u00a0edd. \u00a0(1999), \u00a0Dizionario \u00a0etimologico \u00a0della \u00a0lingua \u00a0italiana, \u00a0 Bologna, \u00a0Zanichelli. Crespo, \u00a0Pedro \u00a0(1978), \u00a0\u00abJ\u2019irai \u00a0comme \u00a0un \u00a0cheval \u00a0fou, \u00a0de \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0ABC, \u00a018\/03, \u00a0p. \u00a0 52. Curti,\u00a0 \u00a0 Roberto;\u00a0 \u00a0La \u00a0 Selva,\u00a0 \u00a0 Tommaso\u00a0 \u00a0 (2007),\u00a0 \u00a0 \u00abArrabal,\u00a0 \u00a0 cavallo\u00a0 \u00a0 pazzo\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0ID.,\u00a0 \u00a0Sex\u00a0 \u00a0 and\u00a0 \u00a0 Violence. \u00a0Percorsi \u00a0nel \u00a0cinema \u00a0estremo, \u00a0Torino, \u00a0Lindau, \u00a0pp. \u00a0145-\u00ad\u2010148. Daetwyler, \u00a0Jean \u00a0Jacques \u00a0(1975), \u00a0Arrabal, \u00a0Lausanne, \u00a0L\u2019A\u0302ge \u00a0de \u00a0l\u2019Homme. Delclo\u0301s,\u00a0 \u00a0 Toma\u0300s\u00a0 \u00a0 (1983),\u00a0 \u00a0 \u00abFernando\u00a0 \u00a0 Arrabal:\u00a0 \u00a0 \u201cPense\u0301\u00a0 \u00a0 en\u00a0 \u00a0 la\u00a0 \u00a0 novela\u00a0 \u00a0 tras\u00a0 \u00a0 aparece\u0301rseme\u00a0 \u00a0 la\u00a0 \u00a0 Virgen \u00a0Mari\u0301a\u201d\u00bb, \u00a0El \u00a0Pai\u0301s, \u00a009\/01. Deleuze, \u00a0Gilles \u00a0(1996), \u00a0 \u00a0Il \u00a0freddo \u00a0e \u00a0il \u00a0crudele, \u00a0Milano, \u00a0SE. Deleuze,\u00a0 \u00a0 Gilles;\u00a0 \u00a0Guattari,\u00a0 \u00a0 Felix\u00a0 \u00a0(1975),\u00a0 \u00a0L\u2019anti-\u00adEdipo.\u00a0 \u00a0 Capitalismo\u00a0 \u00a0 e\u00a0 \u00a0 schizofrenia,\u00a0 \u00a0 Torino, \u00a0 Einaudi. DeLong-\u00ad\u2010Tonelli,\u00a0 \u00a0 Beverly\u00a0 \u00a0 J.\u00a0 \u00a0 (1971),\u00a0 \u00a0 \u00abBicycles\u00a0 \u00a0 and\u00a0 \u00a0 Balloons\u00a0 \u00a0 in\u00a0 \u00a0 Arrabal\u2019s\u00a0 \u00a0 Dramatic \u00a0 Structure\u00bb, \u00a0Modern \u00a0Drama, \u00a014, \u00a0pp. \u00a0205-\u00ad\u2010209. De\u00a0 \u00a0 Co\u0301zar,\u00a0 \u00a0 Rafael\u00a0 \u00a0 (1988),\u00a0 \u00a0 \u00abIl\u00a0 \u00a0postismo \u00a0 e\u00a0 \u00a0 l\u2019avanguardia\u00a0 \u00a0 spagnola\u00a0 \u00a0 del\u00a0 \u00a0 dopoguerra\u00bb,\u00a0 \u00a0 in \u00a0 Gabriele \u00a0Morelli, \u00a0ed., \u00a0Trent\u2019anni \u00a0di \u00a0avanguardia \u00a0spagnola. \u00a0Da \u00a0Ramo\u0301n \u00a0Go\u0301mez \u00a0de \u00a0la \u00a0Serna \u00a0a\u00a0 \u00a0 Juan-\u00adEduardo \u00a0Cirlot, \u00a0Milano, \u00a0Jaca \u00a0Book, \u00a0pp. \u00a0251-\u00ad\u2010268. Eliade, \u00a0Mircea \u00a0(1973), \u00a0Il \u00a0sacro \u00a0e \u00a0il \u00a0profano, \u00a0Torino, \u00a0Bollati \u00a0Bordighieri. Emili, \u00a0Ennio \u00a0(1973), \u00a0Il \u00a0teatro \u00a0di \u00a0Fernando \u00a0Arrabal, \u00a0Trieste, \u00a0Edizioni \u00a0Umana. Espinasse, \u00a0Frac\u0327oise \u00a0(1969), \u00a0\u00abEntretien \u00a0avec \u00a0Arrabal\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0The\u0301a\u0302tre \u00a0III. \u00a0 Le \u00a0grand \u00a0ce\u0301re\u0301monial. \u00a0Ce\u0301re\u0301monie \u00a0pour \u00a0un \u00a0noir \u00a0assassine\u0301, \u00a0Paris, \u00a0Bourgois, \u00a0pp. \u00a07-\u00ad\u201022. Esslin, \u00a0Martin \u00a0(1980), \u00a0Artaud \u00a0e \u00a0il \u00a0teatro \u00a0della \u00a0crudelta\u0300, \u00a0Roma, \u00a0Bulzoni. Esteban, \u00a0Javier \u00a0(2000), \u00a0\u00abFernando \u00a0Arrabal, \u00a0por \u00a0la \u00a0Gracia \u00a0de \u00a0Dios\u00bb, \u00a0Generacio\u0301n.net, \u00a026\/08,
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\nhttp:\/\/www.generacion.net\/entrevista-\u00ad\u2010a-\u00ad\u2010fernando-\u00ad\u2010arrabal-\u00ad\u20102 . Farmer, \u00a0Rosette \u00a0L. \u00a0(1971), \u00a0\u00abFernando \u00a0Arrabal\u2019s \u00a0Guerrilla \u00a0Theatre\u00bb,\u00a0 \u00a0 Yale \u00a0French \u00a0Studies, \u00a0 46, \u00a0pp. \u00a0154-\u00ad\u2010166. Flores, \u00a0William \u00a0(2009), \u00a0\u00abEcocri\u0301tica, \u00a0colonizacio\u0301n \u00a0y \u00a0El \u00a0Arquitecto \u00a0y \u00a0el \u00a0Emperador \u00a0de \u00a0Asiria \u00a0 de \u00a0Fernando \u00a0Arrabal: \u00a0subversio\u0301n \u00a0en \u00a0la \u00a0tradicio\u0301n \u00a0sati\u0301rica\u00bb, \u00a0 Hispania, \u00a092.4, \u00a0pp. \u00a0673-\u00ad\u2010680. Forshage,\u00a0 \u00a0 Mattias\u00a0 \u00a0 (2009),\u00a0 \u00a0 \u00abThe\u00a0 \u00a0 surrealist\u00a0 \u00a0 bestiary\u00bb,\u00a0 \u00a0Surrealist\u00a0 \u00a0 Group\u00a0 \u00a0 of\u00a0 \u00a0 Stockholm, \u00a0 http:\/\/www.surrealistgruppen.org\/bestiary.html . Foucault, \u00a0Michel \u00a0(2010), \u00a0Le \u00a0parole \u00a0e \u00a0le \u00a0cose. \u00a0Un\u2019archeologia \u00a0delle \u00a0scienze \u00a0umane, \u00a0Milano, \u00a0 BUR. Franco, \u00a0Andre\u0301s \u00a0(1977), \u00a0\u00abDia\u0301logo \u00a0con \u00a0un \u00a0exiliado: \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0I\u0301nsula, \u00a0366, \u00a0pp. \u00a04; \u00a0 13. Freud, \u00a0Sigmund \u00a0(1971), \u00a0Il \u00a0disagio \u00a0della \u00a0civilta\u0300 \u00a0e \u00a0altri \u00a0saggi, \u00a0Torino, \u00a0Borighieri. ____ \u00a0(2010), \u00a0Totem \u00a0e \u00a0tabu\u0300 \u00a0e \u00a0altri \u00a0saggi \u00a0di \u00a0antropologia, \u00a0Roma, \u00a0Newton \u00a0Compton. Fromm, \u00a0Harold \u00a0(2012), \u00a0\u00abEcocriticism\u2019s \u00a0growth \u00a0and \u00a0diversity\u00bb,\u00a0 \u00a0PMLA, \u00a0127.4, \u00a0pp. \u00a01016-\u00ad\u2010 1017. Fromm, \u00a0Harold; \u00a0\u00a0 \u00a0Glotfelty, \u00a0Cheryll \u00a0(1996), \u00a0edd.,\u00a0 \u00a0The \u00a0Ecocriticism \u00a0Reader: \u00a0Landmarks \u00a0in\u00a0 \u00a0 Literary \u00a0Ecology, \u00a0Athens\/London, \u00a0The \u00a0University \u00a0of \u00a0Georgia \u00a0Press. Gala\u0301n, \u00a0Diego \u00a0(1971), \u00a0\u00abLa \u00a0agitacio\u0301n \u00a0integrada. \u00a0Festival \u00a0de \u00a0Cannes\u00bb, \u00a0Triunfo, \u00a0469, \u00a01971, \u00a0p. \u00a0 53. ____ \u00a0(1978), \u00a0\u00abIre\u0301 \u00a0como \u00a0un \u00a0caballo \u00a0loco\u00bb, \u00a0Triunfo, \u00a0792, \u00a001\/04, \u00a0p. \u00a076. Garci\u0301a \u00a0Lorca, \u00a0Federico \u00a0(1977), \u00a0Obras \u00a0completas, \u00a0ed. \u00a0di \u00a0Arturo \u00a0del \u00a0Hoyo, \u00a0Madrid, \u00a0Aguilar, \u00a02\u00a0 \u00a0 voll. Garci\u0301a-\u00ad\u2010Pascual, \u00a0Raquel \u00a0(2009), \u00a0\u00abCodio\u0303icacio\u0301n \u00a0semio\u0301tica \u00a0del \u00a0canon \u00a0y \u00a0el \u00a0desvi\u0301o: \u00a0el \u00a0ge\u0301nero \u00a0 en \u00a0el \u00a0teatro \u00a0de \u00a0Miguel \u00a0Romero \u00a0Esteo\u00bb , \u00a0Bulletin \u00a0of \u00a0Hispanic \u00a0Studies, \u00a086.5, \u00a0pp. \u00a0641-\u00ad\u2010657. Gille, \u00a0Bernard \u00a0(1970), \u00a0Fernando \u00a0Arrabal, \u00a0Paris, \u00a0Seghers. Glibota, \u00a0Ante \u00a0(1994), \u00a0ed., \u00a0Arrabal \u00a0espace, \u00a0s.l., \u00a0Studio \u00a0di \u00a0Val \u00a0di \u00a0Cervo. Glotfelty, \u00a0Cheryll \u00a0(2013), \u00a0\u00abLiterature \u00a0and \u00a0Environment, \u00a0the \u00a0Long \u00a0View: \u00a0Thoughts \u00a0from \u00a0 the\u00a0 \u00a0 Founders\u00a0 \u00a0 of\u00a0 \u00a0 ASLE\u00bb,\u00a0 \u00a0The\u00a0 \u00a0 Journal\u00a0 \u00a0 of\u00a0 \u00a0 Ecocriticism,\u00a0 \u00a0 5.1, \u00a0 http:\/\/ojs.unbc.ca\/index.php\/joe\/article\/view\/441 . Goldmann, \u00a0Lucien \u00a0(1961), \u00a0Scienze \u00a0umane \u00a0e \u00a0U\u0308ilosoU\u0308ia, \u00a0Milano, \u00a0Feltrinelli. Guille\u0301n, \u00a0Mario \u00a0S. \u00a0(2010), \u00a0\u00abArrabal: \u00a0\u201cQuiero \u00a0morir \u00a0en \u00a0plena \u00a0polucio\u0301n \u00a0nocturna\u201d\u00bb, \u00a0ABC.es, \u00a0 29\/04, \u00a0http:\/\/www.abc.es\/20100429\/cultura-\u00ad\u2010literatura\/arrabal-\u00ad\u2010201004281248.html.
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\nHermu\u0301n\u0303ez, \u00a0Po\u0301llux \u00a0(2004), \u00a0\u00abEntrevista \u00a0a \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0 Pliegos \u00a0de \u00a0Yuste, \u00a02, \u00a0pp. \u00a05-\u00ad\u201012. Hirsch, \u00a0Erik \u00a0(2007), \u00a0Arrabal \u00a0narrador. \u00a0Die \u00a0neueren \u00a0Romane \u00a0Fernando \u00a0Arrabals, \u00a0Frankfurt \u00a0 am \u00a0Main, \u00a0Peter \u00a0Lang. Iovino, \u00a0 Serenella;\u00a0 \u00a0 Oppermann,\u00a0 \u00a0 Serpil\u00a0 \u00a0 (2012),\u00a0 \u00a0 \u00abTheorizing\u00a0 \u00a0 Material\u00a0 \u00a0 Ecocriticism:\u00a0 \u00a0 A\u00a0 \u00a0 Diptych\u00bb, \u00a0Interdisciplinary \u00a0Studies \u00a0in \u00a0Literature \u00a0and \u00a0Environment, \u00a019.3, \u00a0pp. \u00a0448-\u00ad\u2010475. Jarque, \u00a0Fietta \u00a0(1985), \u00a0\u00abFernando \u00a0Arrabal \u00a0se \u00a0dedica \u00a0temporalmente \u00a0a \u00a0la \u00a0pintura\u00bb, \u00a0 El \u00a0Pai\u0301s, \u00a0 10\/09, \u00a0http:\/\/elpais.com\/diario\/1985\/09\/10\/cultura\/495151210_850215.html. Jodorowsky, \u00a0Alejandro \u00a0(1995), \u00a0\u00a0 \u00a0Psicomagia: \u00a0una \u00a0terapia \u00a0pa\u0301nica, \u00a0Barcelona, \u00a0Seix \u00a0Barral, \u00a0 http:\/\/rie.cl\/psicomagia\/2_el_acto_teatral.php?p=2 . Kahn, \u00a0Bruno \u00a0(2005), \u00a0\u00abAlgebraic \u00a0K-\u00ad\u2010Theory, \u00a0Algebraic \u00a0Cycles \u00a0and \u00a0Arithmetic \u00a0Geometry\u00bb, \u00a0in\u00a0 \u00a0 Eric \u00a0M. \u00a0Friedlander; \u00a0Daniel \u00a0R. \u00a0Grayson, \u00a0edd., \u00a0Handbook \u00a0of \u00a0K-\u00adtheory, \u00a0New \u00a0York, \u00a0Springer, \u00a0 pp. \u00a0351-\u00ad\u2010428, \u00a0http:\/\/www.math.illinois.edu\/K-\u00ad\u2010theory\/handbook\/1-\u00ad\u2010351-\u00ad\u2010428.pdf . Le\u0301vy, \u00a0Bernard-\u00ad\u2010Henri \u00a0(1977), \u00a0\u00abFoucault: \u00a0no \u00a0al \u00a0sexo \u00a0rey\u00bb, \u00a0Triunfo, \u00a0752, \u00a0pp. \u00a046-\u00ad\u201051.
\nLioi,\u00a0 \u00a0 Anthony\u00a0 \u00a0 (2010),\u00a0 \u00a0 \u00abSpecial\u00a0 \u00a0 Forum\u00a0 \u00a0 on\u00a0 \u00a0 Ecocriticism\u00a0 \u00a0 and\u00a0 \u00a0 Theory:\u00a0 \u00a0 An\u00a0 \u00a0 Introduction\u00bb,
\nInterdisciplinary \u00a0Studies \u00a0in \u00a0Literature \u00a0and \u00a0Environment, \u00a017.4, \u00a0pp. \u00a0754-\u00ad\u2010799. Lo\u0301pez \u00a0Gonza\u0301lez, \u00a0Noemi\u0301 \u00a0(1997), \u00a0Tres \u00a0li\u0301neas \u00a0arrabalianas: \u00a0farsas, \u00a0mi\u0301micas \u00a0y \u00a0juegos, \u00a0Ciudad \u00a0 de \u00a0Me\u0301xico, \u00a0Universidad \u00a0Auto\u0301noma \u00a0Metropolitana. \u00a0Tesi \u00a0di \u00a0laurea. \u00a0Relatrice: \u00a0Claudia \u00a0Kerik \u00a0 Rotenbe.
\nManieri,\u00a0 \u00a0 Flavio\u00a0 \u00a0 (2010),\u00a0 \u00a0 \u00abPsicanalisi\u00a0 \u00a0 e\u00a0 \u00a0 antropologia\u00a0 \u00a0 nella\u00a0 \u00a0 genesi\u00a0 \u00a0 dello\u00a0 \u00a0 studio\u00a0 \u00a0 freudiano\u00a0 \u00a0 sulla\u00a0 \u00a0 cultura\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Sigmund\u00a0 \u00a0 Freud,\u00a0 \u00a0Totem\u00a0 \u00a0 e\u00a0 \u00a0 tabu\u0300\u00a0 \u00a0 e\u00a0 \u00a0 altri\u00a0 \u00a0 saggi\u00a0 \u00a0 di\u00a0 \u00a0 antropologia,\u00a0 \u00a0 Roma, \u00a0 Newton \u00a0Compton, \u00a0pp. \u00a07-\u00ad\u201045. Marti\u0301n, \u00a0Jose\u0301 \u00a0Vicente \u00a0(1996), \u00a0Retratos \u00a0de \u00a0Fernando \u00a0Arrabal: \u00a0entre \u00a0la \u00a0pintura \u00a0de \u00a0encargo \u00a0y\u00a0 \u00a0 la\u00a0 \u00a0 teori\u0301a\u00a0 \u00a0 del\u00a0 \u00a0 grupo\u00a0 \u00a0 \u00abpa\u0301nico\u00bb,\u00a0 \u00a0 Valencia,\u00a0 \u00a0 Universidad\u00a0 \u00a0 Polite\u0301cnica\u00a0 \u00a0 de\u00a0 \u00a0 Valencia.\u00a0 \u00a0 Tesi\u00a0 \u00a0 di \u00a0 dottorato. \u00a0Direttore \u00a0di \u00a0tesi: \u00a0Inocencio \u00a0Galindo \u00a0Mateo. \u00a0 \u00a0 Marti\u0301n, \u00a0Jose\u0301 \u00a0Vicente \u00a0(1999), \u00a0\u00abVisiones \u00a0de \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0 in \u00a0Fernando \u00a0Arrabal \u00a0et \u00a0alii., \u00a0 Visiones \u00a0de \u00a0Arrabal, \u00a0Valencia, \u00a0Consorci \u00a0de \u00a0Museus \u00a0de \u00a0la \u00a0Comunitat \u00a0Valenciana , \u00a0pp. \u00a03-\u00ad\u201051. Mauriac, \u00a0Claude \u00a0(1971), \u00a0\u00abSur \u00a0un \u00a0chef-\u00ad\u2010d’oeuvre \u00a0interdit\u00bb, \u00a0Avant-\u00adSce\u0300ne \u00a0Cine\u0301ma, \u00a0116, \u00a0p. \u00a09. McDonald, \u00a0Jennifer \u00a0(2012), \u00a0\u00abIn \u00a0the \u00a0Details.\u00a0 \u00a0The \u00a0Lifespan \u00a0of \u00a0a \u00a0Fact, \u00a0by \u00a0John \u00a0D\u2019Agata \u00a0and \u00a0 Jim\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0Fingal\u00bb,\u00a0\u00a0 \u00a0 \u00a0The\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0New\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0York\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0Times,\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a021\/02, \u00a0 http:\/\/www.nytimes.com\/2012\/02\/26\/books\/review\/the-\u00ad\u2010lifespan-\u00ad\u2010of-\u00ad\u2010a-\u00ad\u2010fact-\u00ad\u2010by-\u00ad\u2010john-\u00ad\u2010 dagata-\u00ad\u2010and-\u00ad\u2010jim-\u00ad\u2010o\u0303ingal.html?_r=1&pagewanted=all . Mendelson, \u00a0David \u00a0(1973), \u00a0\u00abArrabal \u00a0y \u00a0le \u00a0jeu \u00a0dramatique \u00a0des \u00a0e\u0301checs\u00bb,\u00a0 \u00a0 Litte\u0301rature, \u00a09, \u00a0pp.
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\n101-\u00ad\u2010117. ____ \u00a0 (1979),\u00a0 \u00a0 \u00abArrabal\u00a0 \u00a0 y\u00a0 \u00a0 el\u00a0 \u00a0 juego\u00a0 \u00a0 drama\u0301tico\u00a0 \u00a0 del\u00a0 \u00a0 ajedrez\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 A\u0301ngel\u00a0 \u00a0 Berenguer;\u00a0 \u00a0 Joan \u00a0 Berenguer, \u00a0edd., \u00a0Fernando \u00a0Arrabal, \u00a0Madrid, \u00a0Fundamentos, \u00a0pp. \u00a0214-\u00ad\u2010218. Metz, \u00a0Christian \u00a0(1997), \u00a0Cinema \u00a0e \u00a0psicanalisi, \u00a0Venezia, \u00a0Marsilio. Miralles, \u00a0Alberto \u00a0(1984), \u00a0\u00abPro\u0301logo\u00bb, \u00a0in \u00a0ID., \u00a0ed., \u00a023 \u00a0mono\u0301logos \u00a0para \u00a0ejercicios, \u00a0Madrid, \u00a0Julia \u00a0 Garci\u0301a \u00a0Verdugo, \u00a0pp. \u00a07-\u00ad\u201015. Monleo\u0301n, \u00a0Jose\u0301 \u00a0(1971), \u00a0\u00abLa \u00a0hora \u00a0cero \u00a0de \u00a0Nuria \u00a0Espert\u00bb, \u00a0Triunfo, \u00a0450, \u00a0pp. \u00a030-\u00ad\u201031. Moravia, \u00a0Alberto \u00a0(1974), \u00a0\u00abSe \u00a0Edipo \u00a0impugna \u00a0la \u00a0bandiera \u00a0rossa\u00bb, \u00a0L\u2019Espresso, \u00a017\/02. ____ \u00a0(1994), \u00a0\u00abSi \u00a0\u0152dipe \u00a0empoigne \u00a0le \u00a0drapeau \u00a0rouge\u00bb, \u00a0in \u00a0Ante \u00a0Glibota, \u00a0ed., \u00a0Arrabal \u00a0espace, \u00a0 s.l., \u00a0Studio \u00a0di \u00a0Val \u00a0di \u00a0Cervo, \u00a0pp. \u00a0346-\u00ad\u2010347. Moreau, \u00a0Luce \u00a0(1968), \u00a0\u00abEl \u00a0Marque\u0301s \u00a0de \u00a0Sade: \u00a0\u00bfcla\u0301sico \u00a0del \u00a0siglo \u00a0XX?\u00bb, \u00a0Primer \u00a0Acto, \u00a092, \u00a0pp. \u00a0 46-\u00ad\u201049. ____ \u00a0(2001), \u00a0\u00abLos \u00a0animales \u00a0y \u00a0lo \u00a0sagrado \u00a0en \u00a0el \u00a0teatro \u00a0de \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0in \u00a0Francisco\u00a0 \u00a0 Torres \u00a0Monreal, \u00a0ed.,\u00a0 \u00a0El \u00a0teatro \u00a0y \u00a0lo \u00a0sagrado: \u00a0de \u00a0M. \u00a0de \u00a0Ghelderode \u00a0a \u00a0F. \u00a0Arrabal, \u00a0Murcia, \u00a0 Servicio \u00a0de \u00a0Publicaciones \u00a0de \u00a0la \u00a0Universidad \u00a0de \u00a0Murcia, \u00a0pp. \u00a0311-\u00ad\u2010320. Morelli, \u00a0Gabriele \u00a0(1988), \u00a0ed., \u00a0Trent\u2019anni \u00a0di \u00a0avanguardia \u00a0spagnola. \u00a0Da \u00a0Ramo\u0301n \u00a0Go\u0301mez \u00a0de \u00a0la\u00a0 \u00a0 Serna \u00a0a \u00a0Juan-\u00adEduardo \u00a0Cirlot, \u00a0Milano, \u00a0Jaca \u00a0Book. ____ \u00a0(1994), \u00a0ed., \u00a0Ludus: \u00a0gioco, \u00a0sport, \u00a0cinema \u00a0nell\u2019avanguardia \u00a0spagnola, \u00a0Milano, \u00a0Jaca \u00a0Book. Pasi, \u00a0Carlo \u00a0(1998), \u00a0 La \u00a0comunicazione \u00a0crudele. \u00a0Da \u00a0Baudelaire \u00a0a \u00a0Beckett, \u00a0Torino, \u00a0Bollati \u00a0 Boringhieri. Pellizzari,\u00a0 \u00a0 Tommaso\u00a0 \u00a0 (2012),\u00a0 \u00a0 \u00abIl\u00a0 \u00a0 saggista\u00a0 \u00a0 creativo,\u00a0 \u00a0 la\u00a0 \u00a0 sua\u00a0 \u00a0 curiosa\u00a0 \u00a0 idea di\u00a0 \u00a0 \u201cnon\u00a0 \u00a0 o\u0303iction\u201d\u00a0 \u00a0 e\u00a0 \u00a0 il\u00a0 \u00a0fact-\u00adchecker \u00a0 implacabile\u00bb,\u00a0 \u00a0Corrieredellasera.it,\u00a0 \u00a0 28\/08, \u00a0 http:\/\/www.corriere.it\/cultura\/12_agosto_28\/pellizzari-\u00ad\u2010piu-\u00ad\u2010vero-\u00ad\u2010del-\u00ad\u2010vero-\u00ad\u2010 praticamente-\u00ad\u2010falso_8e70f690-\u00ad\u2010f0f0-\u00ad\u201011e1-\u00ad\u2010a005-\u00ad\u20100150214880db.shtml. Penot-\u00ad\u2010Lacassagne, \u00a0Olivier \u00a0(2009), \u00a0\u00abCruor \u00a0et \u00a0cruaute\u0301, \u00a0d’Artaud \u00a0a\u0300 \u00a0Arrabal\u00bb, \u00a0Contemporary \u00a0 French \u00a0and \u00a0Francophone \u00a0Studies, \u00a013.4, \u00a0pp. \u00a0437-\u00ad\u2010444. Podol, \u00a0Peter \u00a0L. \u00a0(1976), \u00a0\u00abFernando \u00a0Arrabal \u00a0and \u00a0Viva \u00a0la \u00a0muerte\u00bb, \u00a0West \u00a0Coast \u00a0Review, \u00a011, \u00a02, \u00a0 pp. \u00a03-\u00ad\u20106. ____ \u00a0(1985), \u00a0\u00abThe \u00a0Grotesque \u00a0Mode \u00a0in \u00a0Contemporary \u00a0Spanish \u00a0Theatre \u00a0and \u00a0Film\u00bb, \u00a0Modern \u00a0 Language \u00a0Studies, \u00a015, \u00a0pp. \u00a0194-\u00ad\u2010207. Polo \u00a0de \u00a0Bernabe\u0301, \u00a0Jose\u0301 \u00a0M. \u00a0(1975), \u00a0\u00abArrabal \u00a0y \u00a0los \u00a0li\u0301mites \u00a0del \u00a0teatro\u00bb, \u00a0Kentucky \u00a0Romance \u00a0 Quarterly, \u00a022.4, \u00a0pp. \u00a0459-\u00ad\u2010471.
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\nPujante \u00a0Gonza\u0301lez, \u00a0Domingo \u00a0(1999), \u00a0\u00abLes \u00a0relations \u00a0ambigu\u0308es \u00a0entre \u00a0Fernando \u00a0Arrabal \u00a0et\u00a0 \u00a0 l\u2019avant-\u00ad\u2010garde\u00bb, \u00a0Quaderns \u00a0de \u00a0Filologia. \u00a0Les \u00a0avant-\u00adguardes \u00a0i \u00a0la \u00a0renovacio\u0301 \u00a0teatral, \u00a04, \u00a0pp. \u00a079-\u00ad\u2010 95. ____ \u00a0(2006), \u00a0\u00abMitos \u00a0espan\u0303oles \u00a0en \u00a0el \u00a0teatro \u00a0france\u0301s \u00a0de \u00a0vanguardia: \u00a0Fernando \u00a0Arrabal \u00a0o \u00a0la \u00a0 poe\u0301tica \u00a0del \u00a0exilio\u00bb, \u00a0in \u00a0Manuel \u00a0Brun\u0303a \u00a0et \u00a0al., \u00a0edd., \u00a0La \u00a0cultura \u00a0del \u00a0otro: \u00a0espan\u0303ol \u00a0en \u00a0Francia, \u00a0 france\u0301s \u00a0en \u00a0Espan\u0303a \u00a0\/ \u00a0La \u00a0culture \u00a0de \u00a0l’autre: \u00a0espagnol \u00a0en \u00a0France, \u00a0franc\u0327ais \u00a0en \u00a0Espagne, \u00a0Sevilla, \u00a0 APFUE, \u00a0SHF, \u00a0pp. \u00a0628-\u00ad\u2010635. ____ \u00a0(2010), \u00a0\u00abLa \u00a0musique \u00a0dans \u00a0le \u00a0the\u0301a\u0302tre \u00a0de \u00a0Fernando \u00a0Arrabal: \u00a0pour \u00a0une \u00a0poe\u0301tique \u00a0de \u00a0la\u00a0 \u00a0 con(fusion)\u00a0 \u00a0 artistique\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Muriel\u00a0 \u00a0 Plana,\u00a0 \u00a0 Fre\u0301de\u0301ric\u00a0 \u00a0 Sounac,\u00a0 \u00a0 edd.,\u00a0 \u00a0 Les\u00a0 \u00a0 relations\u00a0 \u00a0 musique-\u00ad the\u0301a\u0302tre: \u00a0du \u00a0de\u0301sir \u00a0au \u00a0mode\u0300le, \u00a0Paris, \u00a0L\u2019Harmattan, \u00a0pp. \u00a0103-\u00ad\u2010116. Pujante \u00a0Gonza\u0301lez, \u00a0Domingo; \u00a0Moleo\u0301n \u00a0Domi\u0301nguez, \u00a0Ana \u00a0(in \u00a0corso \u00a0di \u00a0stampa), \u00a0edd., \u00a0Arrabal \u00a0 i\u0301ntimo, \u00a0Arrabal \u00a0pa\u0301nico. \u00a0Homenaje \u00a0a \u00a0Fernando \u00a0Arrabal, \u00a0Valencia, \u00a0Servicio \u00a0de \u00a0Publicaciones \u00a0 de \u00a0la \u00a0Universidad \u00a0de \u00a0Valencia. Raymond \u00a0Mundschau, \u00a0Franc\u0327oise \u00a0(1972), \u00a0 \u00a0Arrabal, \u00a0Paris, \u00a0E\u0301ditions \u00a0Universitaires. Rodri\u0301guez\u00a0 \u00a0 Lo\u0301pez-\u00ad\u2010Va\u0301zquez,\u00a0 \u00a0 Alfredo\u00a0 \u00a0 (1997),\u00a0 \u00a0 \u00abArrabal:\u00a0 \u00a0 el\u00a0 \u00a0 ajedrez\u00a0 \u00a0 y\u00a0 \u00a0 los\u00a0 \u00a0 escenarios\u00a0 \u00a0 del\u00a0 \u00a0 humor\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Fernando\u00a0 \u00a0 Cantalapiedra;\u00a0 \u00a0 Francisco\u00a0 \u00a0 Torres\u00a0 \u00a0 Monreal,\u00a0 \u00a0 edd.,\u00a0 \u00a0 El\u00a0 \u00a0 teatro\u00a0 \u00a0 de\u00a0 \u00a0 vanguardia \u00a0de \u00a0Fernando \u00a0Arrabal, \u00a0Kassel, \u00a0Reichenberger, \u00a0pp. \u00a0251-\u00ad\u2010266.
\nRodri\u0301guez\u00a0 \u00a0 Pue\u0301rtolas,\u00a0 \u00a0 Julio\u00a0 \u00a0 (2008),\u00a0 \u00a0Historia\u00a0 \u00a0de\u00a0 \u00a0 la\u00a0 \u00a0 literatura\u00a0 \u00a0 fascista\u00a0 \u00a0 espan\u0303ola,\u00a0 \u00a0 Madrid, \u00a0 Akal, \u00a02 \u00a0voll. Rodri\u0301guez \u00a0Santerba\u0301s, \u00a0Santiago \u00a0(1970), \u00a0\u00abPostismo \u00a0y \u00a0poesi\u0301a \u00a0maldita\u00bb, \u00a0 Triunfo, \u00a0433, \u00a019\/09, \u00a0 pp. \u00a037-\u00ad\u201038.
\nSala, \u00a0Rita \u00a0(1998), \u00a0\u00abArrabal: \u00a0la \u00a0mia \u00a0guerra \u00a0contro \u00a0la \u00a0banalita\u0300\u00bb, \u00a0 Il \u00a0Messaggero, \u00a024\/06, \u00a0p. \u00a019. Santos\u00a0 \u00a0 Sa\u0301nchez,\u00a0 \u00a0 Diego\u00a0 \u00a0 (2007),\u00a0 \u00a0 \u00abLa\u00a0 \u00a0 guerra\u00a0 \u00a0 como\u00a0 \u00a0 motivo\u00a0 \u00a0 y\u00a0 \u00a0 la\u00a0 \u00a0 estrategia\u00a0 \u00a0 ceremonial\u00a0 \u00a0 en\u00a0 \u00a0 Guernica, \u00a0de \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0 Teatro: \u00a0revista \u00a0de \u00a0estudios \u00a0teatrales, \u00a0pp. \u00a0133-\u00ad\u2010146. Schifres,\u00a0 \u00a0 Alain\u00a0 \u00a0 (1968),\u00a0 \u00a0 \u00abPre\u0301face\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0Fernando\u00a0 \u00a0Arrabal,\u00a0 \u00a0The\u0301a\u0302tre\u00a0 \u00a0 I\u00a0 \u00a0 (Oraison,\u00a0 \u00a0 Les\u00a0 \u00a0 deux\u00a0 \u00a0 bourreaux, \u00a0Fando \u00a0et \u00a0Lis, \u00a0Le \u00a0cimetie\u0300re \u00a0des \u00a0voitures), \u00a0Paris, \u00a0Bourgois, \u00a0pp. \u00a09-\u00ad\u201018. ____ \u00a0(1969), \u00a0Entretiens \u00a0avec \u00a0Arrabal, \u00a0Paris, \u00a0Pierre \u00a0Belfond. Sontag, \u00a0Susan \u00a0(1992), \u00a0 \u00a0Malattia \u00a0come \u00a0metafora, \u00a0Torino, \u00a0Einaudi. Striker, \u00a0Ardelle \u00a0(1980), \u00a0\u00abFrom \u00a0Baal \u00a0Babylone \u00a0to \u00a0Viva \u00a0la \u00a0muerte: \u00a0Reo\u0303lections \u00a0on \u00a0the \u00a0Visions \u00a0 of \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0Philological \u00a0Papers. \u00a0West \u00a0Virginia \u00a0University \u00a0Bulletin, \u00a026, \u00a0pp. \u00a053-\u00ad\u201059. Taylor, \u00a0Diana \u00a0(1984), \u00a0\u00abTeori\u0301a \u00a0drama\u0301tica \u00a0de \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0 \u00a0El \u00a0 cementerio \u00a0de \u00a0automo\u0301viles, \u00a0 El \u00a0Arquitecto \u00a0y \u00a0el \u00a0Emperador \u00a0de \u00a0Asiria, \u00a0Madrid, \u00a0Ca\u0301tedra, \u00a0pp.
\n116
\nPaola Bellomi
\n15-\u00ad\u201023. Taylor,\u00a0 \u00a0 Steven\u00a0 \u00a0 (1986),\u00a0 \u00a0 \u00abWanders\u00a0 \u00a0 in\u00a0 \u00a0 Wonderland:\u00a0 \u00a0 Fantasy\u00a0 \u00a0 in\u00a0 \u00a0 the\u00a0 \u00a0 Works\u00a0 \u00a0 of\u00a0 \u00a0 Carroll\u00a0 \u00a0 and\u00a0 \u00a0 Arrabal\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 William\u00a0 \u00a0Coyle,\u00a0 \u00a0 ed.,\u00a0 \u00a0Aspects\u00a0 \u00a0 of\u00a0 \u00a0 Fantasy:\u00a0 \u00a0 Selected\u00a0 \u00a0 Essays\u00a0 \u00a0 from\u00a0 \u00a0 the\u00a0 \u00a0 Second\u00a0 \u00a0 International \u00a0Conference \u00a0on \u00a0the \u00a0Fantastic \u00a0in \u00a0Literature \u00a0and \u00a0Film, \u00a0Westport, \u00a0Greenwood \u00a0 Press, \u00a0pp. \u00a0163-\u00ad\u2010173. Topor, \u00a0Roland \u00a0(1965), \u00a0Dessins \u00a0paniques, \u00a0Paris, \u00a0E\u0301ditions \u00a0Hara-\u00ad\u2010kiri. Torres \u00a0Monreal, \u00a0Francisco \u00a0(1981), \u00a0Introduccio\u0301n \u00a0al \u00a0teatro \u00a0de \u00a0Arrabal, \u00a0Murcia, \u00a0Godoy. ____ \u00a0(1986a), \u00a0\u00abIntroduccio\u0301n\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0Fando \u00a0y \u00a0Lis, \u00a0Guernica \u00a0y \u00a0La \u00a0bicicleta \u00a0del\u00a0 \u00a0 condenado, \u00a0Madrid, \u00a0Alianza. ____ \u00a0(1986b), \u00a0\u00abIntroduccio\u0301n\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0Teatro \u00a0pa\u0301nico, \u00a0Madrid, \u00a0Ca\u0301tedra, \u00a0pp. \u00a09-\u00ad\u2010 84. ____ \u00a0(1987), \u00a0\u00abIntroduccio\u0301n\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0Teatro \u00a0bufo, \u00a0Madrid, \u00a0Espasa \u00a0Calpe, \u00a0pp. \u00a0 9-\u00ad\u201041. ____ \u00a0 (1999a),\u00a0 \u00a0 \u00abArrabal\u00a0 \u00a0 y\u00a0 \u00a0 la\u00a0 \u00a0 imagen:\u00a0 \u00a0 de\u00a0 \u00a0 la\u00a0 \u00a0 vida\u00a0 \u00a0 al\u00a0 \u00a0 cine\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal\u00a0 \u00a0et\u00a0 \u00a0 alii., \u00a0 Visiones \u00a0de \u00a0Arrabal, \u00a0Valencia, \u00a0Consorci \u00a0de \u00a0Museus \u00a0de \u00a0la \u00a0Comunitat \u00a0Valenciana , \u00a0pp. \u00a053-\u00ad\u201080. ____ \u00a0(1999b), \u00a0\u00abEl \u00a0cine \u00a0de \u00a0Arrabal\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0J.L. \u00a0Borges: \u00a0una \u00a0vida \u00a0de \u00a0poesi\u0301a, \u00a0 Murcia, \u00a0Escuela \u00a0Superior \u00a0de \u00a0Arte \u00a0Drama\u0301tico \u00a0de \u00a0Murcia, \u00a0pp. \u00a011-\u00ad\u201047. ____ \u00a0(2000a), \u00a0\u00abPro\u0301logo\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0La \u00a0piedra \u00a0de \u00a0la \u00a0locura, \u00a0Zaragoza, \u00a0Libros \u00a0del \u00a0 Innombrable, \u00a0pp. \u00a0IX-\u00ad\u2010XXII. ____ \u00a0(2000b), \u00a0\u00abEl \u00a0teatro \u00a0y \u00a0lo \u00a0sagrado: \u00a0de \u00a01930 \u00a0a \u00a0nuestros \u00a0di\u0301as\u00bb, \u00a0in \u00a0ID., \u00a0ed., \u00a0El \u00a0teatro \u00a0y \u00a0lo \u00a0 sagrado: \u00a0de \u00a0M. \u00a0de \u00a0Ghelderode \u00a0a \u00a0F. \u00a0Arrabal, \u00a0Murcia, \u00a0Universidad \u00a0de \u00a0Murcia, \u00a0pp. \u00a015-\u00ad\u201062. ____ \u00a0 (2001), \u00a0ed.,\u00a0 \u00a0El \u00a0teatro \u00a0y \u00a0lo \u00a0sagrado: \u00a0de \u00a0M. \u00a0de \u00a0Ghelderode \u00a0a \u00a0F. \u00a0Arrabal, \u00a0Murcia, \u00a0 Universidad \u00a0de \u00a0Murcia. ____ \u00a0(2005a), \u00a0\u00abArrabal: \u00a0Borges: \u00a0Una \u00a0vita \u00a0di \u00a0poesia\u00bb, \u00a0in \u00a0ID., \u00a0ed., \u00a0El \u00a0relato \u00a0ero\u0301tico \u00a0france\u0301s \u00a0hoy.\u00a0 \u00a0 X \u00a0semana \u00a0de \u00a0literatura \u00a0y \u00a0cine \u00a0france\u0301s \u00a0y \u00a0franco\u0301fono, \u00a0Murcia, \u00a0Universidad \u00a0de \u00a0Murcia, \u00a0pp. \u00a09-\u00ad\u2010 18. ____ \u00a0(2005b), \u00a0\u00abEl \u00a0cine \u00a0de \u00a0Arrabal\u00bb, \u00a0El \u00a0extramundi \u00a0y \u00a0los \u00a0papeles \u00a0de \u00a0Iria \u00a0Flavia, \u00a041, \u00a0pp. \u00a0123-\u00ad\u2010 152. \u00a0 ____ \u00a0 (2005c),\u00a0 \u00a0 ed.,\u00a0 \u00a0 \u00abColoquio\u00a0 \u00a0 con\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal\u00a0 \u00a0 tras\u00a0 \u00a0 Jorge\u00a0 \u00a0 Luis\u00a0 \u00a0 Borges,\u00a0 \u00a0 una\u00a0 \u00a0 vita\u00a0 \u00a0 di\u00a0 \u00a0 poesia\u00bb, \u00a0in\u00a0 \u00a0ID.,\u00a0 \u00a0El \u00a0relato \u00a0ero\u0301tico \u00a0france\u0301s \u00a0hoy. \u00a0X \u00a0semana \u00a0de \u00a0literatura \u00a0y \u00a0cine \u00a0france\u0301s \u00a0y \u00a0 franco\u0301fono, \u00a0Murcia, \u00a0Universidad \u00a0de \u00a0Murcia, \u00a0pp. \u00a019-\u00ad\u201032. ____\u00a0 \u00a0 (2009a),\u00a0 \u00a0 \u00abIntroduccio\u0301n\u00bb,\u00a0 \u00a0 in\u00a0 \u00a0 Fernando\u00a0 \u00a0 Arrabal,\u00a0 \u00a0Teatro\u00a0 \u00a0 completo,\u00a0 \u00a0 Madrid\/Burgos,
\n117
\nPaola Bellomi
\nEverest\/Instituto \u00a0Castellano \u00a0y \u00a0Leone\u0301s \u00a0de \u00a0la \u00a0Lengua, \u00a02 \u00a0voll., \u00a0I, \u00a0pp. \u00a01-\u00ad\u2010118. ____ \u00a0(2009b), \u00a0\u00abApuntes \u00a0para \u00a0la \u00a0vida \u00a0de \u00a0Fernando \u00a0Arrabal\u00bb, \u00a0in \u00a0Fernando \u00a0Arrabal, \u00a0Teatro \u00a0 completo, \u00a0Madrid\/Burgos, \u00a0Everest\/Instituto \u00a0Castellano \u00a0y \u00a0Leone\u0301s \u00a0de \u00a0la \u00a0Lengua, \u00a02 \u00a0voll., \u00a0II,\u00a0 \u00a0 pp. \u00a02237-\u00ad\u20102294.
\nUtrera\u00a0 \u00a0 Maci\u0301as,\u00a0 \u00a0 Rafael\u00a0 \u00a0 (1987),\u00a0 \u00a0Literatura\u00a0 \u00a0 cinematogra\u0301U\u0308ica.\u00a0 \u00a0 CinematograU\u0308i\u0301a\u00a0 \u00a0 literaria, \u00a0 Sevilla, \u00a0Alfar.<\/p>\n