Apuntes sobre la filmación de un mito. "Bodas de sangre": del teatro a la danza y de la danza al cine

Abstract

Focusing on the methods of adaptation employed by Antonio Gades and Carlos Saura in their production of Bodas de Sangre (Blood Wedding), this essay elucidates the correspondence between Lorca’s dramatic aesthetic and the film version of the play. The study underscores the presence in Lorca’s work of some of the film’s most characteristic features and techniques: plot of a universal nature; minimization of speech; emphasis on imagery; and the structural function of music. In addition, the article seeks to highlight the theatrical allusions contained within the film, its desire to disclose choreographical methods and techniques, and the director’s tendency to reveal the procedures and practices of his filmmaking.