The present article analyses Raúl Ruiz’ movie Memoria de apariencias: La vida es sueño (1986) in relation to Calderón de la Barca’s La vida es sueño, which the chilenean director adapted to his situation of being in exile. Both Works play a central role in the history of audiovisual arts. The Spanish playwright synthesized the poetical, dramatic and scenographic resources in a way that converted theatrical presentations into an absolute work of art. Raúl Ruiz follows Calderón’s path and thus anticipates the work of other directors that used baroque elements in order to create a similar effect on screen. Both Calderón de la Barca and Raúl Ruiz are pioneer experimentators who universally changed aesthetics of representation and performance. Moreover, the Ruiz’ free adaption of La vida es sueño gives us the possibility to contemplate Calderón’s drama in a new way.
Abstract
The present article analyses Raúl Ruiz’ movie Memoria de apariencias: La vida es sueño (1986) in relation to Calderón de la Barca’s La vida es sueño, which the chilenean director adapted to his situation of being in exile. Both Works play [...]