Acceso usuarios
Jessica De Matteis
Este artículo se propone el estudio de las relaciones entre la pieza La lengua en pedazos de Juan Mayorga, libremente inspirada en El libro de la vida de Santa Teresa de Ávila (1588), sus dos adaptaciones escénicas dirigidas por el propio autor (2012, 2021) y la reescritura fílmica de Paula Ortiz, titulada Teresa (2023), coescrita junto a Mayorga y a Javier García Arredondo. El propósito de este trabajo es examinar a fondo los mecanismos de resignificación del texto en sus diferentes adaptaciones con el fin de trazar su evolución, la cual, como se demostrará, avanza hacia una mayor interiorización y abstracción del conflicto dramático.
This article intends to study the relationships between the play La lengua en pedazos by Juan Mayorga, freely inspired by El libro de la vida de Santa Teresa de Ávila (1588), its two stage adaptations directed by the author himself (2012, 2021) and the film rewriting by Paula Ortiz, named Teresa (2023), co-written with Mayorga and Javier García Arredondo. The purpose of this paper is to analyse the mechanisms of re-signification of the text in its different adaptations in order to trace its evolution, which, as will be shown, advances towards a deeper internalisation and abstraction of the dramatic conflict.
This article intends to study the relationships between the play La lengua en pedazos by Juan Mayorga, freely inspired by El libro de la vida de Santa Teresa de Ávila (1588), its two stage adaptations directed by the author himself (2012, 2021) and the film rewriting by Paula Ortiz, named Teresa (2023), co-written with Mayorga and Javier García Arredondo. The purpose of this paper is to analyse the mechanisms of re-signification of the text in its different adaptations in order to trace its evolution, which, as will be shown, advances towards a deeper internalisation and abstraction of the dramatic conflict.
