Abstract
The following essay sets out to investigate the complex nature of theatrical texts taking into account the fact that in the field of dramatic textuality there aren’t any certain authorships, but a polymorphy of testimonies in which it is difficult and inappropriate to aspire to consumptive “ne varietur”. The analysis of sixteenth-century comedies should therefore attempt to combine textual philology with the history of performance. A suitable case in point for this work is the unpublished comedy “The excess of love and fortune” composed between 1571 and 1592 by the Intronato academic Alessandro Donzellini, whose manuscript and printed tradition reveals a series of macro-variants that can be organized into recurring typologies, demonstrating the fact that in the field of dramatic textuality there is no standard version of the text, but as many versions as were required by different performance contexts.
 
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