<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"
As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nRevista Latin American Theatre Review <\/i>(Center of Latin American Studies University of Kansas- 1997).<\/i> Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos<\/i>, escrito por Jean Graham -Jones.\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/As%C3%AD-se-mira-el-teatro-hoy-de-Jorge-Dubatti\/Imagen-73.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nRevista Latin American Theatre Review <\/i>(Center of Latin American Studies University of Kansas- 1997).<\/i> Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos<\/i>, escrito por Jean Graham -Jones.\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/As%C3%AD-se-mira-el-teatro-hoy-de-Jorge-Dubatti\/Imagen-71.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nRevista Latin American Theatre Review <\/i>(Center of Latin American Studies University of Kansas- 1997).<\/i> Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos<\/i>, escrito por Jean Graham -Jones.\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/As%C3%AD-se-mira-el-teatro-hoy-de-Jorge-Dubatti\/Imagen-74.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Latin-American-Theatre-Review-\/Imagen-95.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Latin-American-Theatre-Review-\/Imagen-97.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Latin-American-Theatre-Review-\/Imagen-96.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Latin-American-Theatre-Review-\/Imagen-98.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Latin-American-Theatre-Review-\/Imagen-99.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nHistoria del Teatro Argentino en Buenos Aires. Volumen V (1976-1998)<\/i>, Osvaldo Pellettieri (GETEA\/Editorial Galerna-2003).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Latin-American-Theatre-Review-\/Imagen-100.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Historia-del-teatro-argentino\/Imagen-101.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Historia-del-teatro-argentino\/Imagen-102.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nDiccionario de Autores Argentinos<\/i>, de Pedro Orgambide (Editorial Ariel).\n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Historia-del-teatro-argentino\/Imagen-103.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n <\/p>\n\nOtras \n\n\n \t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/Diccionario-de-autores-argentinos\/Imagen-106.png\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/otras-publicaciones\/1.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/otras-publicaciones\/11c.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/otras-publicaciones\/2.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/otras-publicaciones\/sdsdgs.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/otras-publicaciones\/002.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n \n\t\t\n\t\t\n\t<\/div>\t<\/div>\n<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":" As\u00ed se mira el teatro hoy (Del Paracultural a la calle Corrientes), de Jorge Dubatti (Ediciones Beas – 1994). Incluye obra \u00abSalven al c\u00f3mico\u00bb. Revista Latin American Theatre Review (Center of Latin American Studies University of Kansas- 1997). Art\u00edculo \u00abOficios \u00fatiles\u00bb: El teatro de Marcelo Ramos, escrito por Jean Graham -Jones. Historia del […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38"}],"collection":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/comments?post=38"}],"version-history":[{"count":20,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions"}],"predecessor-version":[{"id":1130,"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/pages\/38\/revisions\/1130"}],"wp:attachment":[{"href":"https:\/\/marceloramos.com.ar\/wp-json\/wp\/v2\/media?parent=38"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/marceloramos.com.ar\/wp-content\/gallery\/otras-publicaciones\/Imagen-104.png\"\n){kind=link}