Falstaff: la comèdia, l'òpera, el film

• Autores: Josep Maria Fulquet
• Localización: Trípodos, ISSN-e 2340-5007, ISSN 1138-3305, Nº. 12, 2002 (Ejemplar dedicado a: La influència de la narració cinematogràfica en els mitjans de comunicació (II)), págs. 9-23
• Idioma: catalán
• Enlaces
  • Texto completo
• Resumen

  • The objective of this article is to analyse different treatments of Falstaff, the fictional character created by William Shakespeare, both in literature (be it historical drama -Henry IV, parts one and two; Henry V- or comedy -The Merry Wives of Windsor), and in the adaptation to opera written by Arrigo Boito - librettist and composer who had collaborated with Giuseppe Verdi on the libretto of another Shakespearean tragedy, Othello- and, finally, in the cinema version of the American actor and director Orson Welles. As we know, Falstaff constitutes the nucleus of the aforementioned works, the through-line of the plot in both tragedy and comedy, and their principal point of reference. Thus, the article attempts to review in detail the changes -additions and/or substractions- which have occurred in the original text in function of the different languages to which it has been adapted while striving to achieve operatic and cinematographic effect.