The Galician writer creates his own genre (el esperpento) trough both a series of characterization adaptacion, Valle-Inclan, cine, teatro, Las Galas del Difunto. Friolera’s Horns), Las galas del difunto () (The Deadman’s Finery), La hija del capitán () (The Captain’s Daughter) and in his novels Tirano Banderas. In the pages to follow, I wish to show that the esperpento Ias gala.s del d!funto ( ) consists of shiillful deformatlons of the Orestes myths, as styllzed in speciflc .
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If she acqulred from Ventolera the wherewithal to travel to Lisbon, tt is by no means certaln that she would lmprove her lot.
Contact Contact Us Help. Views Read Edit View history. Click here to sign up. The ending of this play about sacrlflce is problem- atlcal: Her niggardliness combines with superstitlon to produce the htlarious Scene 6, a grotesque parody of Clytemnestra’s terrlfflng flnal confrontation with Orestes.
To be free of him, the widow offers Ventolera money to stay at the inn, but so little, ln accordance wlth her usual parsimony, that he calls for his legacy of the cane and derby to go with the sult. None of her arguments can sway htm to spare her. She superstittously thinks that the devil hlmself dances around her. It is a manner very Spanish, a demiurge manner, that doesn’t believe to be in any way made of the same earth as its dolls.
Esperpento – Wikipedia
He will feel himself more a man in the garments of the dead, while -6schylus’ characters regard the vestments of the deceased as humiliating, even dehumanizlng. Yet law are also tndispensable ln the mature traglc farces, or esperpentos.
To Justiff hts robbery of the pharmacist’s three-piece suit, Ventolera dreams of ustng la as a liiind of love-trap, so that he can hook up arm-ln-arm ‘sacar de ganchete” wtth ta Datfa. He responds by poslng her a riddle: Luces de Bohemiaspecifically the conversation between Max Estrella and Don Latino de Hispalis in the twelfth scene, is considered to be the foundation of esperpento.
Enter the email address you signed up with and we’ll email you a reset link. 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 eseprpento mixing other existent genres.
Juantto Ventolera never repents. The main characteristic of esperpento is usage of the grotesque as a form of expression, which includes reification of characters, fusion of animal and human forms, legitimizing colloquial language via ds use in literature, an abundant use of contrast, distorting scenery, and mixing the real world with nightmares.
Sevillano, Elena 28 February Off-campus UMass Amherst users: But Tia ComJa remlnds her, “Para tl ha stdo un verdugo” La Dalfa says, -Es muy contrarla ml suerte.
Instead of flltertng through the wall hke Don Gonzalo de Ulloa, Juanito Ventolera shatters the crystal of the dramatlc illusion by crashlng in to the room through the glass doors ln as forced an entry as Orestes’ to slay Clytemnestra. Analogously, Ventolera says that the dead man has designated hlm hls executor. Ventolera conflrms as much by pun- ning on espdrpento first-class ddl suit he craves: Those contradictions, even though included in the original play, have to deal with the whole new cinematographic context.
La hlj a del capifr: Iphlgenia and La Dalfa undergo a hardentng of character, reflecting the influence of an unhealthy amblance’ A crltique of human sacriflce for lts barbarity seems to generate Euripides; Iphlgenta fn? With two Maeterlinckian sketches published in ,1 the Galician playwright initiated an experimental dramaturgy that led, in the eady ‘S, to the esperpenro, an avant-garde form whose association with the ideas of Gordon Craig and other twentieth-century theorists is finally coming to light.
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“Analisis del Proceso de Adaptacion de Las Galas del Difunto de Valle-I” by Gorka Maiztegui Zuazo
In this study I propose a way of understanding Las galas that incorporates the attendant, but in truth limited, aspect of parody into a tragicomic process of characterization. The general reaction against realism, which affected tum-of-the-century theater throughout Europe, was led in Spain by Ram6n del Valle-Inchln As Valle’s Orestes-flgure, Juanito Ventolera, ex- presses it, ‘Dando la cara no hay bueno nl malo” lo8l.
Without cookies your experience may not be seamless. Death appears as a fundamental character. Clytemnestra at last identtfles Orestes as a snake she bore in a nightrnare she had. Remember me on this computer.
Book titles OR Journal titles. By consulting an oracle, he learned that he would have to sacriflce Iphigenla to Artemls to generate wlnd for hls sails. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. The Furles, personlfftng this guilt, hounded Orestes eveqrwhere.
T even down to the lowest D”if;;;: Skip to main content. The proof, with rlgorous com- parlsons between Greek and Spantsh texts, deserves a separate study elsewhere. However, the chorus of soldiers ln the esperpento reverses this sentlment and expresses superstitious ‘St un difunto se espedpento dread’ of the dead.
In the pages to follow, I wish to show that the esperpento Ias gala. Just as Athena situates herself between the pursuer Thoas and the pursued orestes, so the procuress plants herselfbetweenVentolera and La Daifa.
I 16 l Reference to the second sense first appeared in the supplement to the nineteenth edition When she laments the death of her beloved, Orestes promises her a quick reunion with him. But a mere pardy dilfers from the elaborate, full-scale deformation of an ancient classical hero.
Their father King Agamemnon, to avenge the rape of his sister-in-law Helen, needed to launch hls fleet from the port of Aulis for Tfoy.