1943. While Carl Theodor Dreyer was making Dies Irae (Vredens Dag) for the big screen, Gustaf Molander was shooting Ordet, the first filmic treatment of the stage play with the same title, in four acts by Kaj Munk. Subsequently, the text caught the attention of Dreyer who made the film Ordet in 1955 and later Tom Segerberg transposed it for television (1962). Tom Segerberg had to face a real challenge in transposing for television a complex work such as Ordet for its dialogues, symbolic references, interiors setting, always relating with the exteriors in a rural peasant environment, etc., and, last but not least, for the comparison with Masters of the history of cinema, like Molander and mostly Dreyer.
Guerrini Verga L. (2012). "ORDET FROM THE MASTER'S TO TELEVISION'S ADAPTATION". MONTRÉAL : Off Screen ed. Donato Totaro Montréal.
"ORDET FROM THE MASTER'S TO TELEVISION'S ADAPTATION"
GUERRINI, LORETTA
2012
Abstract
1943. While Carl Theodor Dreyer was making Dies Irae (Vredens Dag) for the big screen, Gustaf Molander was shooting Ordet, the first filmic treatment of the stage play with the same title, in four acts by Kaj Munk. Subsequently, the text caught the attention of Dreyer who made the film Ordet in 1955 and later Tom Segerberg transposed it for television (1962). Tom Segerberg had to face a real challenge in transposing for television a complex work such as Ordet for its dialogues, symbolic references, interiors setting, always relating with the exteriors in a rural peasant environment, etc., and, last but not least, for the comparison with Masters of the history of cinema, like Molander and mostly Dreyer.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
