By Roberta Nusim

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Additional info for Art Direction The Visual Language of Film (Teacher's Guide and Activities)

Sample text

We are obviously no longer speaking of a suspended or eternal allegorical time. But while still in ‘real time’, the actors remain in costume, allowing them to play with their appearance just as other personifications did in the previous mojigangas. In the universe of this piece, the mojiganga is officially over, but the costume party spirit remains. While in Sitios and Los guisados, the costumes served to clarify the identities of those present onstage, in La muerte, the costumes are better described as disguises, as the actors onstage take on a double identity.

361, ll. 235–7. , p. 361, ll. 250–1. , p. 361, ll. 254–8. , p. 363, l. 280. qxd 28 23/09/03 11:22 AM Page 28 TED L. L. BERGMAN BETWEEN MOJIGANGA AND ENTREMÉS El pésame de la viuda is a mojiganga that approaches the other end of the spectrum first represented by Los sitios de recreación del Rey. The two pieces have much in common, but in the areas of plot, characterisation, setting and dialogue, Pésame lies much closer to the comedia. In Sitios and Los guisados, no setting is mentioned in the stage directions.

In Pésame, where no humour is derived from costumes alone, the characters can draw laughter from the audience as much through what they do as through what they say. Situational humour does not necessarily depend upon an interaction between characters but it does depend on a character’s physical reaction to their surroundings, whether it includes other characters or not. The main influence upon the plot of Pésame, that is, the way the characters behave, is the widow’s insistence on keeping up appearances while she yearns to do what is forbidden to her by custom.

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Art Direction The Visual Language of Film (Teacher's Guide and Activities) by Roberta Nusim


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