Publication: El baile fragmentado de Carmen Amaya en la película María de la O
Authors
Marinero Labrador, Cristina
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
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info:eu-repo/semantics/article
Description
Abstract
El planteamiento que Francisco Elías da a la secuencia de baile de Carmen
Amaya en el último tercio de la película María de la O (1936) es arriesgado y a todas
luces poco apropiado para exhibir el arte de la genial bailaora. La decisión parece
estar influida por la intención de Elías de apartarse de las entonces populares
"españoladas", optando por mostrarse más moderno y a la vez poseedor de una
buena técnica cinematográfica. Teniendo como referentes los modelos proporcionados
por las películas de Busby Berkeley y de Fred Astaire de los primeros años treinta,
nuestra conclusión es que quiso acercarse más al modelo del primero que al de
Astaire quien, con su exigencia de respeto a la hora de rodar la danza, limitó "lo
cinematográfico" en pro del arte escénico.
The treatment that Francisco Elías gives to the sequence of Carmen Amaya's dance in the last third of the movie Maria de la O (1936) is risked and surely little appropriate to exhibit the art of the brilliant “bailaora”. The decision seems to be influenced by Elías's intention of separating of the popular "typically Spanish acts" of then. Taking as modals the models provided by the movies of Busby Berkeley and of Fred Astaire of the first thirties, our conclusion is that it wanted to approach more the model of the first one than that of Astaire who, with his exigency of respect at the moment of rolling the dance, limited "the cinematographic thing " in favor of the scenic art.
The treatment that Francisco Elías gives to the sequence of Carmen Amaya's dance in the last third of the movie Maria de la O (1936) is risked and surely little appropriate to exhibit the art of the brilliant “bailaora”. The decision seems to be influenced by Elías's intention of separating of the popular "typically Spanish acts" of then. Taking as modals the models provided by the movies of Busby Berkeley and of Fred Astaire of the first thirties, our conclusion is that it wanted to approach more the model of the first one than that of Astaire who, with his exigency of respect at the moment of rolling the dance, limited "the cinematographic thing " in favor of the scenic art.
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