The cinema of Ventura Pons: Theatricality as a minoritarian device
In this article, I analyse Ventura Pons' process of adapting plays for the big screen. Willingly, he fails to subscribe to the current artistic and industry parameters regarding adaptations and audience expectations. In this article, I focus on Pons's Carcies (1998), Morir (o no) (T2002) and Barcelona (un mapa) (2007) adapted from plays by Sergi Belbel and Llusa Cunill respectively - three plays that are similar in how impossible for an optimal screen transfer they appear to be. However, apart from the movies per se, what Pons successfully accomplishes in his dual role has little to do with adaptation techniques and more with a creation of a hybrid construct that, in all of its intermedial confusion, deftly frames a painful commentary of the state of Catalonia.
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Document Type: Research Article
Affiliations: UNC Charlotte.
Publication date: 2010-09-01
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- Adaptation, or the conversion of oral, historical or fictional narratives into stage drama has been common practice for centuries. In our own time the processes of cross-generic transformation continue to be extremely important in theatre as well as in the film and other media industries. Adaptation and the related areas of translation and intertextuality continue to have a central place in our culture with a profound resonance across our civilisation.
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