Bodas de sangre en la interdiscursividad entre la comunicación de la obra de Federico García Lorca y el ballet flamenco de Antonio Gades

Abstract

In the interdiscursivity of the semiological relationship that is established between a tragedy and the discourse produced by a different artistic discipline such as dance, we will analyze the work of Federico García Lorca Bodas de Sangre and its staging by Antonio Gades. He faces the challenge of capturing a silent choreographic spectacle free of words (with the exception of sung musical themes) keeping alive the essentiality of the work of Federico García Lorca without falling into the mere translation of literary language. The change in the discourse is produced by the different interpretations of the same subject and the same story, and a clear interdiscursivity occurs both in the similarities and in the differences of the simultaneous reading of different aesthetic experiences.