《佩德罗·西耶纳之死的轻骑兵》由la Patogallina集体改编

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2020-08-21 DOI:10.7764/67.8

Isabel Andrea Sapiaín Caro, Carla Cortez Cid

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引用次数: 0

摘要

这项工作 分析 电影的“适应” El husar de la 守法者 佩德罗黄土由la Patogallina 集体。它从转换的角度探讨了这两部作品之间的联系，无声电影语言与戏剧语言 之间的关系，以及 戏剧 作品的政治后果。因此，本文注意到 电影的成功，Manuel Rodriguez角色的受欢迎程度，戏剧的特点以及换位的叙事和美学操作。有了这个，La Patogallina将建立一个作品，庆祝无声电影的代码从戏剧语言和曼努埃尔罗德里格斯的形象，更新 其政治意义和它在当代智利的斗争。

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Transposición de El Húsar de la Muerte de Pedro Sienna por el colectivo La Patogallina

This work analyzes the “adaptation” of the film El husar de la muerte of Pedro Sienna made by La Patogallina collective. It explores the link between both pieces from the transposition viewpoint, the relationship between the silent cinematographic language and the theatrical one, and the political aftermaths of the theater piece. For such reasons, it notes the success achieved by the movie, the popularity of the character Manuel Rodriguez, the characteristics of the play and the narrative and aesthetics operations of the transposition. With this, La Patogallina would build a piece that celebrates both the silent cinema code from the theatrical language and the figure of Manuel Rodriguez, updating its political meaning and that of its fight in contemporary Chile.

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.