ABSTRACT
The last decades have shown, in the studies of scholars from different countries, a theoretical assessment of the peculiar features that characterize dramatic language when compared with other literary genres. Any play is both a text to be read and explored in the complex richness of its literary structure, and a script which develops all its potential on a stage where characters perform an action in a fictitious space through a full range of mutual relations in front of an audience. If it is true that other literary texts, such as tales or poems, may be staged, it is also true that some kind of adaptation must make their language work dramatically and grant both speakability and performability to the lines through which the action develops.
