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El perro del hortelano: de espacio escénico a espacio cinematográfico



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Juan Carlos Garrot Zambrana    Université de Tours, France    

abstract

In 1996, the movie El perro del hortelano, a film version of the homonymous comedy by Lope de Vega due to Pilar Miró, premiered in Spain. This essay aims to study how the rather vague and reduced space of the piece becomes a filmic space characterised by realism, as well as abundance. Attention is also paid to some omission of dialogue, very important to understand the character of Teodoro; they can be compensated by the silent image. Finally, the consequences of having shot the film in different parts of Portugal, easily recognisable to the Spanish spectator, are analysed.

Language: es

keywords: El perro del hortelano. Lope de Vega. Pilar Miró. Theatrical space. Cinematic space. Naples. Spain. Portugal.

Submitted: Feb. 19, 2019
Accepted: May 2, 2019
Published: July 12, 2019
permalink: doi.org/10.30687/978-88-6969-330-4/009

Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License 

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