La dialéctica alto vs bajo en El perro del hortelano
Del decorado verbal de Lope de Vega a la transposición fílmica de Pilar Miró
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.
Submitted: Feb. 19, 2019 | Accepted: April 22, 2019 | Published July 12, 2019 | Language: es
Keywords Dialectic high vs low • El perro del hortelano • Lope de Vega • Film version • Pilar Miró
Copyright © 2019 Marcella Trambaioli. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.30687/978-88-6969-330-4/010