Blood Wedding | |
---|---|
Directed by | Carlos Saura |
Written by | Carlos Saura Antonio Artero Antonio Gades Alfredo Mañas |
Produced by | Emiliano Piedra |
Starring | Antonio Gades Cristina Hoyos Juan Antonio Jiménez |
Cinematography | Teodoro Escamilla |
Edited by | Pablo González del Amo |
Music by | Emilio de Diego |
Release date |
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Running time | 72 minutes |
Country | Spain |
Language | Spanish |
Blood Wedding (Spanish : Bodas de sangre) is a 1981 Spanish musical film written and directed by Carlos Saura. It was directed and choreographed in the flamenco style. It is the first part of Saura's 1980s flamenco trilogy, and is followed by Carmen (1983) and El amor brujo (1986).
The film depicts Antonio Gades and his dance company performing a flamenco adaptation of Federico García Lorca's play Blood Wedding . As with all Saura's flamenco films, the film is overtly theatrical: it begins with the company arriving at the studio and putting on costumes and makeup. The dance is then performed in a bare windowed space with a minimum of props and no set. There are no elaborate costumes and many of the actors wear only their rehearsal clothes.
It was shown out of competition at the 1981 Cannes Film Festival. [1]
The video clip for Figlio della luna, the Italian version of the 1986 song Hijo de la Luna by Mecano, has a esthetic related to Blood Wedding. [2]
José Mercé is a Spanish flamenco singer. As a 12-year-old he performed at flamenco festivals. Later he moved to Madrid where he recorded his first album in 1968.
Antonio Esteve Ródenas or Antonio Gades was a Spanish flamenco dancer and choreographer. He helped to popularize the art form on the international stage. He was born in Elda, Alicante, and was the father of actress María Esteve and singer Celia Flores-- with his ex-partner Marisol, herself a popular actress and singer.
Blood Wedding is a tragedy by Spanish dramatist Federico García Lorca. It was written in 1932 and first performed at Teatro Beatriz in Madrid in March 1933, then later that year in Buenos Aires, Argentina.
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Josefa Flores González, known professionally as Marisol or Pepa Flores, is a retired Spanish singer and actress who was an evolving icon in Spain since her first appearance in 1960 as a child star until her retreat from the spotlight in 1985.
Carlos Saura Atarés was a Spanish film director, photographer and writer. With Luis Buñuel and Pedro Almodóvar, he is considered to be among Spain's great filmmakers. He had a long and prolific career that spanned over half a century, and his films won many international awards.
Carmen is a 1983 Spanish film adaptation of Prosper Mérimée's novel Carmen, incorporating music from Georges Bizet's opera of the same name. Directed and choreographed in the flamenco style by Carlos Saura and María Pagés, it constitutes the second installment of Saura's flamenco trilogy in the 1980s, preceded by Bodas de sangre and followed by El amor brujo. The film received an Academy Award nomination for Best Foreign Language Film at the 56th Academy Awards.
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"Hijo de la Luna" is a song written by José María Cano performed originally by the Spanish band Mecano with lead singer Ana Torroja. It appeared on their 1986 album, Entre el cielo y el suelo, and had great success all over the Spanish-speaking world, as did the album. From 28 December 1998 to 16 January 1999, a cover version by Loona topped the German charts, and reached number two on the Swiss singles' chart.
El amor brujo or Carlos Saura Dance Trilogy, Part 3: El Amor Brujo is a 1986 Spanish musical film written and directed by Carlos Saura. It was directed and choreographed in the flamenco style by Maria Pagès. It is the third part of the Saura's flamenco trilogy he made in the 1980s, after Bodas de sangre in 1981 and Carmen in 1983. The film was screened out of competition at the 1986 Cannes Film Festival.
María Jesús Pagés Madrigal, better known as María Pagés, is a modern Spanish dancer and choreographer. Considered one of the premiere living Flamenco dancers, Pagés has been recognised internationally for decades as one of the top performers of the style, with her expressive stage presence and passionate, unique rhythmic interpretations. She is among the paramount representatives of flamenco vanguard. Critically and publicly acclaimed for her personal, aesthetic approach to Flamenco performance, Pagés has long-since proven herself to be the current leading pioneer in the modern understanding of this ever-evolving art form. In 1990, she founded a dance company which is now based in Madrid, and has continued performing worldwide ever since. In 2014, she was awarded the government's Gold Medal of Merit in the Fine Arts (Spain) by the Spanish Ministry of Culture.In 2022, she reveived the Princess of Asturias Award in the category "Arts", being the first flamenco dancer in history to receive this recognition.
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Javier Antonio García Expósito is a dancer and choreographer. He debuted at the age of sixteen in the National Lyric Company. In 1979, he joined the Ballet Nacional de España, as soloist under the direction of Antonio Gades. After receiving an award as the Festival d'Avignon, he founded in 1988 in Cordoba the Ziryab Danza of which he was director, choreographer and dancer. He had considerable success with the show Hijas del Alba. A year later, he received three national awards at the Concurso Nacional de Arte Flamenco. In 1990, he toured with the show La fuerza del destinoall over Europe, and participated as a guest artist with Mario Maya in Diálogos del Amargo. He collaborated on Concierto flamenco para un marinero en tierra with Vicente Amigo before winning the first prize in dance at the Festival del Cante de las Minas in 1994.
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Antonio Gómez de los Reyes known as Antonio Canales is a male flamenco dancer and choreographer born in Seville.
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The 37th Goya Awards ceremony, presented by the Academy of Cinematographic Arts and Sciences of Spain, took place at the FIBES Conference and Exhibition Centre in Seville, Andalusia on 11 February 2023.
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[...] acompañada también de un vídeo, excelente de factura y medios, dirigido por el propio José María Cano, en el que las reminiscencias lorquianas de la canción quedaban aun más en evidencia a partir de una estética claramente emparentada con las Bodas de Sangre adaptadas en 1981 por Carlos Saura