El teatro clásico español en el cine

El teatro clásico español en el cine

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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

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Metadata

Biblioteca di Rassegna iberistica

La dialéctica alto vs bajo en El perro del hortelano
Del decorado verbal de Lope de Vega a la transposición fílmica de Pilar Miró

Marcella Trambaioli
Università degli Studi del Piemonte Orientale «Amedeo Avogadro», Italia
marcella.trambaioli@uniupo.it

DOI 10.30687/978-88-6969-330-4/010

Submitted 19 Feb 2019
Accepted 22 Apr 2019

Abstract

Pilar Miró shows a great ability in translating into cinematographic terms the linguistic, social and metaphorical elaboration that Lope de Vega realises in his play The Gardener’s Dog opposing high vs low. If the dramatist hardly alludes to specific places where the characters act, Miró adopts a number of effective solutions, both spatial and symbolic, some of them really original (such as the introduction of a dwarf who always accompanies the Countess being her monstrous double). Many sequences reflect perfectly in spatial terms the distance that separates Teodoro and Diana up until Tristán, with his tricks, finds the way they can consider themselves equal at the end of the play.

Keywords
Lope de Vega. El perro del hortelano. Pilar Miró. Film version. Dialectic high vs low.


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

Trambaioli Marcella

dc.title

La dialéctica alto vs bajo en El perro del hortelano

dc.type

Book Chapter

dc.language.iso

es

dc.description.abstract

Pilar Miró shows a great ability in translating into cinematographic terms the linguistic, social and metaphorical elaboration that Lope de Vega realises in his play The Gardener’s Dog opposing high vs low. If the dramatist hardly alludes to specific places where the characters act, Miró adopts a number of effective solutions, both spatial and symbolic, some of them really original (such as the introduction of a dwarf who always accompanies the Countess being her monstrous double). Many sequences reflect perfectly in spatial terms the distance that separates Teodoro and Diana up until Tristán, with his tricks, finds the way they can consider themselves equal at the end of the play.

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

2019-04-22

dc.identifier.uri

http://doi.org/10.14277/978-88-6969-330-4/010

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

Lope de Vega

dc.subject

El perro del hortelano

dc.subject

Pilar Miró

dc.subject

Film version

dc.subject

Dialectic high vs low

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