0000000000424075
AUTHOR
Víctor Huertas-martín
'There's a [Space] For Us': Place and Space in Screen Versions of Romeo and Juliet in the Spanish 1960s: West Side Story (R. Wise and J. Robbins, 1961), Los Tarantos (F. Rovira-Beleta, 1963) and No Somos ni Romeo ni Julieta (A. Paso, 1969)
International audience; This article examines the critical reception of the film adaptation of West Side Story (Jerome Robbins and Robert Wise, 1961) in Spanish culture and cinematography. It looks into two other screen versions of Romeo and Juliet: Los Tarantos (Francesc Rovira-Beleta, 1963) and No somos ni Romeo ni Julieta (Alfonso Paso, 1969). West Side Story remains in the Spanish cultural memory as a filmic event associated with the arrival of foreign influence amidst national-catholic dictatorship. I will use the variables “place” and “space,” which distinguish, on one hand, proper orders established by authority and, on the other hand, areas transformable by interactions and changes,…
Off-Modern Hybridity in TV Theatre: Theatrical, Cinematic and Media Temporalities in Rupert Goold’s Macbeth (BBC - Illuminations Media, 2010)
Rupert Goold’s screen production of Macbeth – firstly, staged in 2007 and, later, filmed in 2010 – has been studied as an example of the stage-to-screen hybrid corpus of Shakespearean audio-visual adaptations. Thus, much of the critical emphasis on the production has been placed on its filmic qualities. Particularly, the genre film conventions deployed across the film has summoned the attention of Shakespeare on screen scholars and it has been the creators’ intentions to precisely point at Goold’s filmic intertextual repertoire. Given the recent increasing attention to the multiple media and languages employed in stage-to-screen hybrid Shakespearean adaptations and other exchanges between t…