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Con el advenimiento del primer gobierno socialista en España y el fin de la censura, el cineasta salmantino José Luis García Sánchez escribe, junto a Rafael Azcona, un guion cinematográfico tomando como hipotexto la zarzuela La corte de Faraón, de Perrín y Palacios (1910). Las estrategias narrativas utilizadas para esta reescritura fílmica de un espectáculo teatral están estrechamente relacionadas con el esperpento, y produjeron no solo resultados curiosos e interesantes en el ámbito del cine sainetesco y esperpéntico, sino que definieron a partir de sus características formales la época de cambio político, social y económico más relevante de la historia española reciente. Este artículo analiza las transformaciones operadas por ambos guionistas sobre la obra original a nivel narrativo para adecuarla a un sistema semiótico distinto al del teatro, y las técnicas cinematográficas utilizadas por el cineasta para otorgar sentido a su nuevo texto visual.With the income of the first socialist government in Spain and the end of the censorship, the Salamanca-born filmmaker José Luis García Sánchez writes, in colaboration with Rafael Azcona, a script which takes as hypotext the zarzuela La corte de Faraón, by Perrín y Palacios (1910). The narrative strategies that were used for this rewriting of a theatrical performance are closely related to esperpent, and they produced not only some curious and interesting results in the field of sainetesque and grotesque spanish cinema, but also defined with its forms an era of huge political, social and economic changes of the recent history of Spain. This paper analyzes the transformations that both screenwriters operated from the original work at a narrative level in order to adapt it to a new semiotic system, different from the theater, and the cinematographic techniques that the filmmaker used to give meaning to his new visual text.
With the income of the first socialist government in Spain and the end of the censorship, the Salamanca-born filmmaker José Luis García Sánchez writes, in colaboration with Rafael Azcona, a script which takes as hypotext the zarzuela La corte de Faraón, by Perrín y Palacios (1910). The narrative strategies that were used for this rewriting of a theatrical performance are closely related to esperpent, and they produced not only some curious and interesting results in the field of sainetesque and grotesque spanish cinema, but also defined with its forms an era of huge political, social and economic changes of the recent history of Spain. This paper analyzes the transformations that both screenwriters operated from the original work at a narrative level in order to adapt it to a new semiotic system, different from the theater, and the cinematographic techniques that the filmmaker used to give meaning to his new visual text.
