In the 1960s, Calderón’s Life is a Dream went through two popular audiovisual adaptations: Luis Lucia’s movie El príncipe encadenado (1960), a ‘free version’ with peplum influences, and Pedro Amalio López’s televised performance (1967). By analysing how these works trivialise or manipulate the playwright’s theological and political perspective, the article aims to question the notion of an orthodox Calderonian canon in the late Francoist period.
«Humano, demasiado humano»: reinterpretaciones cinematográficas y televisivas de La vida es sueño en el tardofranquismo
Eugenio Maggi
2019
Abstract
In the 1960s, Calderón’s Life is a Dream went through two popular audiovisual adaptations: Luis Lucia’s movie El príncipe encadenado (1960), a ‘free version’ with peplum influences, and Pedro Amalio López’s televised performance (1967). By analysing how these works trivialise or manipulate the playwright’s theological and political perspective, the article aims to question the notion of an orthodox Calderonian canon in the late Francoist period.File in questo prodotto:
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