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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Deformation stops being such when it is subjected to perfect math. Help Center Find new research papers in: From then on, only reproductions were hung on the wall, while the real mirrors, now restored, where kept inside the building.
In the pages to follow, I wish to show that the esperpento Ias gala. Tnrrilla’s DonJuanTenorto, several tlmes humor- ously mentioned ln the play, offers Juanito Ventolera a negative model for his own ultraterrestrial cupidlty.
Iphlgenia, of course, has a coun terpart ln [. Reference to the second sense first appeared in the supplement to the nineteenth edition Artemis, relenting, spirited her away to Tauds the Crimeabut everyone beheved her dead.
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? Other- wlse he would deem tt a valueless rttual for an enonnous offense fltnes The Furles, personlfftng this guilt, hounded Orestes eveqrwhere. The tragic sense of Spanish life can only be understood by an esthetic which is systematically deformed Los cternos de Don FllioLera in Obras escogidas.
The Tragicomic Don Juan: Son enanos y patizambos que juegan una tragedia. The experpento heroes reflected in concave mirrors give rise to the esperpento.
These plays present the absurdlty of Spaln by convertlng priestesses lnto prostltutes, heroes lnto diffunto. Ventolera conflrms as much by pun- ning on the first-class three-plece suit he craves: The matricide, though ordained by Apollo, drove Orestes mad wlth guilt for shedding liiindredblood.
Just as Orestes protested that his mother had cast hlm out to misery after killtng hls father, so Ventolera protests that by not opening the door when he knocked, she has forced hlm to enter through the balcony.
Contrary Lio the traditlonal view, whtch concentrates on the prlnted work, the present study calls for analyzlng the artlstlc passage from ancient Greek archetypes into thetr lndlvlduallzed Spantsh carlcatures. Clarendon P, I 9 Inversion of Sophocles’ CDdipus atColonus. The general reaction against realism, which affected tum-of-the-century theater throughout Europe, was led in Spain by Ram6n del Valle-Inchln However strong her flllal love, greed seems to prevail.
Log In Sign Up. As Valle’s Orestes-flgure, Juanito Ventolera, ex- presses it, ‘Dando la cara no hay bueno nl malo” lo8l. But a mere pardy dilfers from the elaborate, full-scale deformation of an ancient classical hero. However, the chorus of soldiers ln the esperpento reverses this sentlment and expresses superstitious ‘St un difunto se levanta’ dread’ of the dead.
The experpento 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 its use in literature, an abundant use of contrast, distorting scenery, and mixing the real world with nightmares. The fel of the Generals has demorallzed the lower ranks, causlng them to extend thelr battleground to the mother country herself.
However, ln her Spanlsh ln verslon, that vlrgln detty has degenerated lnto Mother Celestina, embodl- ment of greed and venallty.
Orestes in Las galas del difunto of Valle-Inclán | Nelson Orringer –
Death appears as a fundamental character. Without cookies your experience may not be seamless. The systematic deformation of reality plays a key role, often calling on the appearance of caricatures. 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.
Those contradictions, even though included in the original play, have to deal with the whole new cinematographic context. Cardona andZahareas have arguably spotted the pres- falas of the Orestes archetype inl-os cuernos de Don FYlolero lthe second esperpento.
Characters on the street include drunkards, prostitutes, rogues, beggars, failed artists, and bohemians, all presented as marionettes incapable of voluntary actions. Orestes concludes, before slaylng her, that the fear stemming from her dream was the prophet of her woe lins, O.