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Notes
1. Susan Sontag, ‘Film and Theatre’, in Gerald Mast and Marshall Cohen (eds), Film Theory and Criticism, 3rd edn. (New York and Oxford: Oxford University Press, 1985), pp. 340–355 (p. 344).
2. Linda Seger, The Art of Adaption: Turning Fact and Fiction into Film) (New York: Henry Holt, 1992), p. 42.
3. I refer to the films in their English rather than their Catalan titles in the remainder of the article because all were referred to by these titles when distributed in the English-speaking world.
4. Manuel Yáñez Murillo, ‘Local Heroes’, at http://www.filmlinc.com/fcm/JF06/journal.htm [accessed 17 February 2006].
5. David George provides a partial list of these stage productions. ‘From Stage to Screen: Sergi Belbel and Ventura Pons’, Anales de la Literatura Española Contemporánea, 27:1 (2002), 89–102 (p. 90).
6. Detailed information on films directed by Pons may be found on his web site: http://www.venturapons.com/filmografia/
7. Paul Julian Smith, ‘Retrospectiva ICA’ (Institute of Contemporary Arts), at http://www.venturapons.com/filmografia/morirp.html [accessed 10 September 2005].
8. Paul Julian Smith, ‘Independencia y literariedad: dos películas de Ventura Pons’, in Norberto Mínguez Arranz (ed.), Literatura española y cine (Madrid: Complutense, 2002), pp. 65–78 (pp. 65, 67).
9. V. Collera, ‘Ventura Pons reflexiona sobre la soledad y las imperfecciones del amor’, at http://www.elpais.es/articulo/elpcinpor/20060210elpepicin_6/Tes/cine/Ventura/Pons/reflex [accessed 16 February 2006].
10. Jaume Martí-Olivella, ‘Catalan Cine-Lit: A Critical Overview’, in George Cabello Castellet, Jaume Martí-Olivella, and Guy H. Wood (eds), Cine-Lit. Essays on Peninsular Film and Fiction (Corvallis: Portland State University, Oregon State University, Reed College, 1992), pp. 147–167 (p. 153).
11. Jaume Martí-Olivella, ‘Catalan Cine-Lit’, pp. 150–151.
12. Eulàlia Borràs-Riba, ‘About the Playwright’, in Legacy, by Josep M. Benet i Jornet, trans. Janet DeCesaris (New Brunswick, NJ: ESTRENO Plays, 2000), pp. ix–xi (p. ix).
13. David George and John London, ‘Avant-Garde Drama’, in their Contemporary Catalan Theatre. An Introduction (Sheffield: The Anglo-Catalan Society, 1996), pp. 73–101 (p. 91).
14. David George, ‘About the Playwright’, in Blood, by Sergi Belbel, trans. Marion Peter Holt (New Brunswick, NJ: ESTRENO Plays, 2004), pp. ix–x (p. ix).
15. In 2003, I posed the question directly to Ignacio del Moral and José Luis Alonso de Santos. Del Moral, despite being credited with co-authoring the screenplay, does not approve of the violence superimposed on his La mirada del hombre oscuro (Dark Man's Gaze) in Bwana (1996, dir. Imanol Uribe). Alonso de Santos confirmed that he was less pleased with Bajarse al moro (Going Down to Marrakesh) than with La estanquera de Vallecas (Hostages in the Barrio), and totally at odds with the movie version of Salvajes (Savages). He is credited with being a co-author, along with the respective directors and an additional writer, for the first two movies and was not involved in the third one: La estanquera de Vallecas (1986, dir. Fernando Colombo), Bajarse al moro (1988, dir. Eloy de la Iglesia), Salvajes (2001, dir. Carlos Molinero).
16. Josep M. Benet i Jornet, personal e-mail, 19 September 2005.
17. Ventura Pons, taped interview with Marta Cabrera-Serrano, based on questions provided by this author, New York City, 11 December 2005. My thanks to Mary Katherine Hogan for transcribing this interview.
18. Gerald Mast, ‘Literature and Film’, in Jean-Pierre Barricelli and Joseph Gibaldi (eds), Interrelations of Literature (New York: The Modern Language Association of America, 1982), pp. 278–306 (p. 290).
19. Alonso de Santos, ‘De la escritura dramática a la escritura cinematográfica’, República de las Letras, 54 (1997), 77–82 (p. 78).
20. Ibid., p. 82.
21. David George, ‘From Stage to Screen: Sergi Belbel and Ventura Pons’, pp. 96–97.
22. The Catalan edition of E. R. is prefaced by an author's note on the title (Barcelona: Edicions 62, 1994). It also includes Carles Batlle i Jordà's illuminating notes on various themes in the play: happiness, time, the limits of reason, reality/fiction, etc. (pp. 81–108). These materials are not reproduced in the Castilian edition (trans. José María Pou, Madrid: Sociedad General de Autores y Editores, 1995). Pou is credited in this publication by his Castilianized Christian name, José María. In this issue of CTR we have referred to him consistently by his Catalan Christian name, Josep Maria.
23. Because Actresses is the official translated title of Pons's film, in this study I use this feminine term for the women actors although in current American usage the word ‘actor’ now dominates for both sexes.
24. I discuss common strategies for adapting plays in Theatrical Translation and Film Adaptation. A Practitioner's View (Clevedon, Buffalo and Toronto: Multilingual Matters, 2005).
25. This strategy of shifting play dialogue outside is certainly not unique to Actresses. In early sequences of his film version of Fernando Fernán-Gómez's Las bicicletas son para el verano (Bicycles Are for Summer), director Jaime Chávarri did so repeatedly. His 1984 film was a box office hit but the playwright was reportedly dismayed because the family's dining room lost its centrality in the movie. See Juan Antonio Ríos Carratalá, El teatro en el cine español (Alicante: Instituto de Cultura Jan Gil Albert, 1999), p. 160.
26. Santiago Fondevila, ‘¿Un mundo feliz?’, El Público, 91 (July/August 1992), 34–36 (p. 35).
27. David George, ‘From Stage to Screen’, p. 91.
28. Sergi Belbel, Caricias. Elsa Schneider (Madrid: El Público, Teatro 17, September–October, 1991).
29. Sally Faulkner, Literary Adaptations in Spanish Cinema (London: Tamesis, 2004), p. 74.
30. Sardà frequently appears in Pons's films. Other repeat and/or famous actors in the cast include Mercè Pons, David Selvas, Julieta Serrano, and Agustín González.
31. Sally Faulkner, Literary Adaptations, p. 75.
32. I discuss the film adaptation of Testament at greater length in ‘From Stage to Screen: Amic/Amat’, Anales de la Literatura Española Contemporánea, 26:1 (2001), 239–253.
33. Lorenzo Mans, ‘A Note on the Play’, in Legacy (p. viii).
34. Jim O'Quinn, ‘Postmark Barcelona: Say It in Catalan’, American Theatre, 15:1 (1998), 65–68 (p. 66).
35. In Castilian, Belbel's play is titled Morir (Un instante antes de morir) (Madrid: Antonio Machado, 2000).
36. Sally Faulkner, Literary Adaptations, p. 72.
37. Internationally known actor Lluís Homar played the director. Actors who were in the casts of other Pons films include Mercè Pons and Anna Lizaran.
38. With reference to silent movies, Béla Balázs praised close-ups for revealing ‘to us a new world the world of microphysiognomy’. ‘The Close-Up’, in Mast and Cohen (eds), Film Theory and Criticism, pp. 255–264 (p. 261).
39. Paloma Pedrero, A Night Divided, in Parting Gestures with A Night in the Subway, trans. Phyllis Zatlin (New Brunswick, NJ: ESTRENO Plays, 1999), pp. 25–36 (p. 26).
40. Linda Seger recommends that screen adaptations introduce a closed, preferably happy ending; movies should not end with a death, unless the final scene compensates by showing others grieving the death. The Art of Adaptation, p. 7.