Abstract
El principe perseguido offers an interesting example of theatrical rewriting. The comedia was written by three authors –Luis Belmonte Bermudez, Agustin Moreto and Antonio Martinez de Meneses– before 16th of April 1645. The three poets used a relatively early play by Lope de Vega El gran duque de Moscovia y Emperador perseguido (Parte septima, 1616). The comparison of both texts –the comedia colaborada and its source– allows to investigate the modes of collaborative writing for stage in the Spanish Golden Age theatre. The analysis concentrates on the plot (based on the history of the false Dmitry) and macro- and microtextual quotes. The study refers to one of the most complex moments in the history of public theatre in the 17th century Spain (1644-1651).
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