Abstract
"That of the recent theatre of memory in Spain is a complex panorama which, while presenting various constants that constitute its distinctive features with respect to the historic theatre and the documentary theatre, also begins to manifest some variables that invite us to reflect on possible categorizations of the dramaturgical strategies put in place for the recovery of the past through the stage. We propose to start a reflection in this sense, examining some of these differential aspects through a selection of significant plays from an ever wider and more variegated corpus through the lens of the need for trauma negotiation."
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