Analisis del Proceso de Adaptacion de Las Galas del Difunto de Valle-Inclan

Maiztegui Zuazo, Gorka

Publication:
Analisis del Proceso de Adaptacion de Las Galas del Difunto de Valle-Inclan

dc.contributor.advisor	Barbara Zecchi
dc.contributor.author	Maiztegui Zuazo, Gorka
dc.contributor.department	University of Massachusetts Amherst
dc.contributor.department	Hispanic Literatures & Linguistics
dc.date	2023-09-23T07:36:23.000
dc.date.accessioned	2024-04-26T21:21:50Z
dc.date.available	2012-12-07T00:00:00Z
dc.date.issued	2013-01-01
dc.date.submitted	February
dc.description.abstract	The present research is focused on the formal devices that Azcona and José Luís García Sánchez display in the film adaptation of Las galas del difunto, a theater play included in Martes de Carnaval, published in 1930 by Ramón María del Valle-Inclán. Framed within the state politics of cultural promotion, Las galas del difunto was released for television consumption, thus, its characteristics are very relevant in order to analyze the priorities and strategies developed in the adaptation process. Not only does the main obstacle remain in the fact that the original play is difficult to represent in theater (mostly due to its secondary text), but also the metatextual dimension of Valle-Inclán’s texts. The Galician writer creates his own genre (el esperpento) trough both a series of characterization devices, a master use of language, and action structures; but also writing from a very particular perspective (looking for aesthetic distance) and mixing other existent genres. This complex collage crashes with the naturalistic tendency of audiovisual representation and offers a wide variety of open fronts that appeal directly to the adaptation concept. Clearly, the script writers have noticed the formal structures in the text and, to a certain extent, “translated” into genuine cinematographic language. However, the result of this sense of fidelity could present paradoxes within the movie and in regard to the audience’s reception. Those contradictions, even though included in the original play, have to deal with the whole new cinematographic context. The tensions between the play and the movie will arise through acting, lightning, camera framing, and mise en scene.
dc.description.degree	Master of Arts (M.A.)
dc.identifier.doi	https://doi.org/10.7275/3521654
dc.identifier.uri	https://hdl.handle.net/20.500.14394/47943
dc.relation.url	https://scholarworks.umass.edu/cgi/viewcontent.cgi?article=2108&context=theses&unstamped=1
dc.source.status	published
dc.subject	adaptacion
dc.subject	Valle-Inclan
dc.subject	cine
dc.subject	teatro
dc.subject	Las Galas del Difunto
dc.subject	Film and Media Studies
dc.subject	Spanish Literature
dc.title	Analisis del Proceso de Adaptacion de Las Galas del Difunto de Valle-Inclan
dc.type	campus
dc.type	article
dc.type	thesis
digcom.contributor.author	isAuthorOfPublication\|email:g.maiztegui@hotmail.com\|institution:University of Massachusetts Amherst\|Maiztegui Zuazo, Gorka
digcom.date.embargo	2012-12-07T00:00:00-08:00
digcom.identifier	theses/999
digcom.identifier.contextkey	3521654
digcom.identifier.submissionpath	theses/999
dspace.entity.type	Publication