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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Leading themes include death, the grotesque, and the reduction of human beings to objects reification. The style is marked by bitter irony.
“Analisis del Proceso de Adaptacion de Las Galas del Difunto de Valle-I” by Gorka Maiztegui Zuazo
The Royal Esprpento Academy first defined the term esperpento in the fourteenth edition of the DRAEwhere the first and third meanings above were accepted.
Reference to the second sense first appeared in the supplement to the nineteenth edition It systematically deforms reality, emphasizing its grotesque and absurd traits, while at the same time degrading consecrated literary values.
For this purpose, colloquial language is dignified for artistic purposes to allow cynical expressions and jargon. This definition was maintained until the last edition, in which the reference to “consecrated literary values” was removed. Luces de Bohemiaspecifically difunho conversation between Max Estrella and Don Latino de Hispalis in the twelfth scene, is considered to be the foundation of esperpento.
The classical heroes reflected in concave mirrors give rise to the esperpento. The tragic sense of Spanish life can only be understood by an esthetic which is systematically deformed Esperpennto most beautiful images in a convave mirror are absurd Deformation stops being such when it is subjected to perfect math.
My actual esthetic is to transform the classical norms using the mathematics of the concave mirror. The gods become farces.
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. This consideration is dr moved me to change my writing and write esperpentosthe literary genre that I baptize with the name esperpentos. The world of the esperpentic —as one of the characters in Bohemian Lights explains—is as though the ancient heroes have become deformed in the concave mirrors of the street, with a grotesque transportation, but rigorously geometric.
And these deformed beings are the heroes called to represent a classic fable that is not deformed. The ones who play the tragedy are minute and bow-legged. The main characteristic of esperpento is usage of the grotesque as a form of expression, which includes reification of ve, fusion of animal and human forms, legitimizing gallas language via its use in literature, an abundant use of contrast, distorting scenery, and mixing the real world with nightmares.
The systematic deformation of reality plays a key role, often calling on the appearance of caricatures. Death appears as a fundamental character.
Orestes in Las galas del difunto of Valle-Inclán | Nelson Orringer –
Esperpento comes with a semitransparent moral lessonfilled with criticism and satire. The degradation present in esperpento affects both environments and characters. The dominant settings are taverns and brothels, miserable interiors, and dangerous streets in Madrid. Characters on the street include drunkards, prostitutes, rogues, beggars, failed artists, and bohemians, all presented as marionettes incapable of voluntary actions. The main question that esperpento asks is whether difutno presents a deformed image of reality or whether it presents an accurate image of a deformed reality.
From Wikipedia, the free encyclopedia.
From gaalas on, only reproductions were hung on the wall, while the real mirrors, now restored, where kept inside the building.
Son enanos y patizambos que juegan una tragedia.