| dc.contributor.author | D’Arienzo, Grazia | |
| dc.date.accessioned | 2021-09-08T10:30:43Z | |
| dc.date.available | 2021-09-08T10:30:43Z | |
| dc.date.issued | 2021 | |
| dc.identifier.citation | D’Arienzo, Grazia, "Diffrazioni beckettiane: il plesso teatro-schermico di Atom Egoyan”. Sinestesieonline, A. 10, no. 32 (Maggio2021): 1-13 | it_IT |
| dc.identifier.issn | 2280-6849 | it_IT |
| dc.identifier.uri | http://sinestesieonline.it/wp-content/uploads/2021/05/maggio2021-15.pdf | it_IT |
| dc.identifier.uri | http://elea.unisa.it:8080/xmlui/handle/10556/5702 | |
| dc.identifier.uri | http://dx.doi.org/10.14273/unisa-3806 | |
| dc.description.abstract | Although primarily known for his work as a filmmaker, Atom Egoyan has staged several
theatre plays. In his career, theatre and the screen appear to be intertwined into a practice
strongly influenced by Samuel Beckett. The artist adapts Beckett’s texts on two occasions: a
work from behind the camera – the film of the drama Krapp's Last Tape – and a staged ver-
sion of Eh Joe’s script. This paper aims to analyse how Egoyan transfers Beckett’s teleplay Eh
Joe from the television screen to the stage. | it_IT |
| dc.format.extent | P. 1-13 | it_IT |
| dc.language.iso | it | it_IT |
| dc.publisher | Avellino : Associazione culturale Internazionale Sinestesie | it_IT |
| dc.source | UniSa. Sistema Bibliotecario di Ateneo | it_IT |
| dc.subject | Samuel Beckett | it_IT |
| dc.subject | Atom Egoyan | it_IT |
| dc.subject | Teatro multimediale | it_IT |
| dc.subject | Teatro intermediale | it_IT |
| dc.subject | Eh Joe | it_IT |
| dc.subject | Krapp’s Last Tape | it_IT |
| dc.title | Diffrazioni beckettiane: il plesso teatro-schermico di Atom Egoyan | it_IT |
| dc.type | Journal Article | it_IT |
