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REESCRITURA CINEMATOGRÁFICA DE UNA ZARZUELA EN CLAVE ESPERPÉNTICA: LA CORTE DE FARAÓN, DE JOSÉ LUIS GARCÍA SÁNCHEZ Y RAFAEL AZCONA
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REESCRITURA CINEMATOGRÁFICA DE UNA ZARZUELA EN CLAVE ESPERPÉNTICA: LA CORTE DE FARAÓN, DE JOSÉ LUIS GARCÍA SÁNCHEZ Y RAFAEL AZCONA
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REESCRITURA CINEMATOGRÁFICA DE UNA ZARZUELA EN CLAVE ESPERPÉNTICA: LA CORTE DE FARAÓN, DE JOSÉ LUIS GARCÍA SÁNCHEZ Y RAFAEL AZCONA
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Journal Article
REESCRITURA CINEMATOGRÁFICA DE UNA ZARZUELA EN CLAVE ESPERPÉNTICA: LA CORTE DE FARAÓN, DE JOSÉ LUIS GARCÍA SÁNCHEZ Y RAFAEL AZCONA
2019
Overview
With the income of the first socialist government in Spain and the end of the censorship, the Salamanca-born filmmaker José Luis García Sánchez writes, in colaboration with Rafael Azcona, a script which takes as hypotext the zarzuela La corte de Faraón, by Perrín y Palacios (1910). The narrative strategies that were used for this rewriting of a theatrical performance are closely related to esperpent, and they produced not only some curious and interesting results in the field of sainetesque and grotesque spanish cinema, but also defined with its forms an era of huge political, social and economic changes of the recent history of Spain. This paper analyzes the transformations that both screenwriters operated from the original work at a narrative level in order to adapt it to a new semiotic system, different from the theater, and the cinematographic techniques that the filmmaker used to give meaning to his new visual text.
