El teatro clásico español en el cine

El teatro clásico español en el cine

Download free PDF

  pdf
Views 6
Downloads 0

Topic
chevron_rightLinguistics

Language
es

ISBN (print)
978-88-6969-331-1

ISBN (ebook)
978-88-6969-330-4

ISSN
chevron_right2610-8844

e-ISSN
chevron_right2610-9360

Date of publication
12 Jul 2019

Share

Metadata

Biblioteca di Rassegna iberistica

El perro del hortelano: de espacio escénico a espacio cinematográfico

Juan Carlos Garrot Zambrana
Université de Tours, France
juan.garrot@univ-tours.fr

DOI 10.30687/978-88-6969-330-4/009

Submitted 19 Feb 2019
Accepted 02 May 2019

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.

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


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

Table of contents
×
Campo DC Valore

dc.contributor.author

Garrot Zambrana Juan Carlos

dc.title

El perro del hortelano: de espacio escénico a espacio cinematográfico

dc.type

Book Chapter

dc.language.iso

es

dc.description.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.

dc.relation.ispartof

Biblioteca di Rassegna iberistica

dc.publisher

Edizioni Ca’ Foscari - Digital Publishing

dc.date.issued

2019-07-12

dc.dateAccepted

2019-02-19

dc.dateSubmitted

2019-05-02

dc.identifier.uri

http://doi.org/10.14277/978-88-6969-330-4/009

dc.identifier.issn

2610-8844

dc.identifier.eissn

2610-9360

dc.identifier.isbn

978-88-6969-331-1

dc.identifier.eisbn

978-88-6969-330-4

dc.rights

Creative Commons 4.0 Attribution alone

dc.rights.uri

http://creativecommons.org/licenses/by/4.0/

item.fulltext

with fulltext

item.grantfulltext

open

dc.subject

El perro del hortelano

dc.subject

Lope de Vega

dc.subject

Pilar Miró

dc.subject

Theatrical space

dc.subject

Cinematic space

dc.subject

Naples

dc.subject

Spain

dc.subject

Portugal

Download

×