Familia de antonio gades blood
The Films of Carlos Saura: The Practice of Seeing
Spanish filmmaker Carlos Saura, who began his career under the censorship of Franco's regime, has forged an international reputation for his unique cinematic treatment of emotional and spiritual responses to repressive political conditions. In films such as Carmen and El Dorado, where reality and fantasy are deliberately fused together, Saura reveals the illusions of Franco's mythologized Spain--a chaste, Catholic, and heroic Spain of the Golden Age--that tend to isolate Spaniards from the rest of Europe, from each other, and from their own individuality. In this first English-language book on Saura, Marvin D'Lugo looks at the social and artistic forces behind this film auteur's highly personal cinema. Tracing Saura's career over three decades, D'Lugo discusses each work from Hooligans (1959), a realist film about a Madrid street-gang member trying to become a bullfighter, to The Dark Night (1989), a film dealing with the persecution of the religious reformer St. John of the Cross in the late sixteenth century. Throughout he argues that Saura's cinematic style results from a highly original response to the political and historical constraints of Spanish culture. D'Lugo shows how in order to explore the complex cultural politics of "Spanishness" as it was institutionalized under Franco, Saura frames his narrations through the eyes of characters who question the forces that shape personal and collective identity. Moving beyond the limits of traditional auteur studies, this book addresses the relationship between the filmmaker and the cultural ideology that historically has thwarted and manipulated the expressions of individuality in Spanish society.
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This is the ninth edition of a show for all ages directed by the middle of the Farruco saga, Antonio Fernandez Montoya 'El Farru'. A work with dramaturgy inspired by those stories that our elders told us, forming part of the most important legacy they left us: the love of family. And that "was born naturally to show how we live Christmas."
A cast united by ties of blood and friendship meets on stage to celebrate a universal date. Once again, this project offers new creations but with the same spirit of brotherhood in the warmth of an audience that will enjoy a concert to the sound of popular Christmas carols. An authentic flamenco party for the family.
After thanking the Andalusian Institute of Flamenco, to the media and attendees, El Farru took the floor to comment that "we gathered to celebrate life. Through music and dance we tell a story. That of a family committed to art, to their loved ones and to others. A family that comes together to express what they feel and to thank God for the gift of making people happy. Farrucos and Fernandez It's not a zambomba. Or maybe it is. Farrucos and Fernández is a show only of flamenco. Or maybe not. A celebration that brings back the purest sense of the word Christmas. We want to show our particular way of living a time of year when feelings are heightened. Through music and dance we want to convey a message of solidarity, hope and humanity. And it is also an educational and interactive show with a cast that narrates, plays, sings and dances but above all expresses, which does not aim to surprise but to excite.
«We gather to celebrate life. Through music and dance we tell a story. That of a family committed to art, to their loved ones and to others. Farrucos y Fernández is not a zambomba. Or maybe it is. Farrucos y Fernández is a show of only flamenco. Or maybe not. A celebration that recovers the purest sense of the word Christmas.
TSPDT
"The father of modern Spanish cinema. Elements of Saura's innovative work are still reflected today in the films of such directors as Pedro Almodóvar and Bigas Luna. While some of his films are noted by their daring, vivid use of colour and symbolism, Saura has also proved adept at dramas of realism that exposed weaknesses in the prevailing social conditions." - David Quinlan (Quinlan's Film Directors, 1999)
Director / Screenwriter
(1932-2023) Born January 4, Huesca, Aragón, Spain
Key Production Countries: Spain, France
Key Genres: Drama, Romantic Drama, Psychological Drama, Family Drama, Documentary, Music, Melodrama, Reunion Films, Dance
Key Collaborators: Pablo G. del Amo (Editor), Elías Querejeta (Producer), Teo Escamilla (Cinematographer), Geraldine Chaplin (Leading Actress), Luis Cuadrado (Cinematographer), Rafael Azcona (Screenwriter), Luis de Pablo (Composer), José Luis López Vázquez (Leading Actor), Rafael Palmero (Production Designer), Marisa Porcel (Character Actress), Antonio Gades (Leading Actor), Alfredo Mayo (Leading Actor)
"Saura has always been fascinated by tradition, history and the way fantasy and artifice intersect with reality. His early films, made under Franco, are dark allegorical dramas (and occasionally comedies) which explore how the repressive dictatorship had a baneful effect on all areas of life… The need to evade censorship made for dramatic subtlety, delicacy and psychological resonance; after Franco's death, Saura's work became more direct and, surprisingly, less political. - Geoff Andrew (The Director's Vision, 1999)
"During his almost 50 years as a filmmaker, Carlos Saura has been witness to all kinds of convulsions in Spanish cinema and its sociopolitical context. His films, born under the attentive gaze of Franco’s authority and censorship, navigated the transition to democracy with an equal and constant focus on urgent contemporary real Bodas de sangre és una tragèdia en vers i en prosa de l'escriptor andalúsFederico García Lorca, escrita el 1931. La va estrenar el 8 de març de 1933 al Teatro Beatriz de Madrid per part de la Companyia de Josefina Díaz i Manuel Collado, amb escenografia de Santiago Ontañón. Ha tingut diverses adaptacions al cinema com la portada a terme per Edmundo Guibourg el 1938, amb Margarida Xirgu de protagonista, i més tard sota la direcció de Carlos Saura el 1981. L'experìència del teatre la Barraca fa que Lorca impulsi una literatura adreçada a unes classes populars, generant el que es coneix com a "trilogia de la terra espanyola" que conjuntament amb Bodas de Sangre s'hi sumen Yerma (1934),i posiblemente una obra que no es va arribar a acabar amb el títol La destrucción de Sodoma. L'obra se centra en l'anàlisi d'un sentiment tràgic de la vida i la mort des d'una forma arcaica i ancestral. Hi trobem mites, llegendes i paisatges que introdueixen el lector en un món de passions ombrívoles que deriven en la gelosia, la persecució i en el final tràgic de la mort. L'amor es destaca com l'única força que la pot vèncer. El marc de l'obra se situa en un paisatge i costums d'una Andalusia tràgica i alhora universal. Els esdeveniments tràgics que succeeixen a l'obra Bodas de sangre podrien basar-se en uns fets reals que es van produir el Bodas de sangre
Tipus obra literària Autor Federico García Lorca Llengua castellà País d'origen Espanya Personatges La mare del nuvi, El nuvi, La núvia, La mort, La Lluna, La criada, el pare de la núvia, l'esposa de Leonardo, Leonardo's Mother-in-law, Woodcutter I, Woodcutter II, Woodcutter III, Young Man I, Young Man II, Girl I, Girl II, Girl III, Neighbour, Little Girl i Leonardo Estrena 8 març 1933 Identificador Theatricalia d'obra dramàtica 458 i cb0