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Goya’s deafness, as the play contains several instances of absolute silence in which the audience is plunged into Goya’s mind. 123 But the sounds and voices are not merely a scenic representation of Goya’s hallucination or madness. Rather, they translate into dramatic language the nightmares and fantasies of Goya’s visual realm, his etchings, drawings and paintings. Likewise, Buero exploits the narrativity and dramaticality of Goya’s titles, mostly from the Caprichos and the Desastres de la guerra, many of which appear as fragments of a dialog (cf. Monti 779). Especially during the two central scenes I will discuss below in more detail, in which Goya is first attacked by imaginary creatures and then by five “Royal Volunteers,” a troop sent by the king, the quotation of titles from the Caprichos and the Desastres de la guerra such as “Trágala, perro” (“Swallow it, dog”) or “Y son fieras” (“And they are wild”) functions as a dramatic means of verbally evoking and reinforcing visual images of horror, violence and fear. Although the only visual images that are directly shown are the fourteen Pinturas negras which are projected onto the background, the drama on the whole functions like an ekphrasis of the Capricho etching which gives it its title, El sueño de la razón, which is also dramatized in a key scene. In other words, Buero’s play on the whole can be seen as a dramatic ekphrasis which contains another dramatic ekphrasis within it. The drama represents a socio-political nightmare in which reason sleeps and unreason and terror, embodied by the 123 This “efectos de inmersión” was first discussed by Ricardo Doménech, El teatro de Buero Vallejo (Madrid: Editorial Gredos, 1973), 49-52. However, as Holt indicates, “Buero himself had already referred to the procedure by the more encompassing term “interiorización” (xv). On this effect specifically in El sueño de la razón, see Silvia Monti, “Goya en las tablas. El sueño de la razón de Buero Vallejo,” Anales de la Literatura Española Contemporánea 23.3 (1998): 778. 94
King’s minister Calomarde, take over. But the drama has also been described as “un sueño de rebeldía frente a una situación opresora,” 124 that is, as the artist’ dream of his art as a tool of rebellion against the reign of unreason and terror. However, rather than discussing how the drama as a whole ekphrastically transcribes Goya’s Sueño de la razón, I will focus on the dramatization of this etching in its key scene. This scene thus not only represents an ekphrasis within an ekphrasis, but also a mini-drama within the drama, in other words, a “metadrama […] acted out within Goya’s mind.” 125 At the beginning of this scene, Goya is shown sitting “en la misma postura que dio a su cuerpo en el aguafuerte famoso” (Buero 194; “in the same position in which he represented his body in the famous aquatint,” my transl.), 126 when he is attacked by several monstrous creatures (a bat-man, two pig figures, a horned figure, and a cat figure) who end up muzzling him and condemn him for various charges: “Por judío, masón, liberal, jacobino, insolente, impertinente, reincidente, pintor, masturbador, grabador…” (Sueño 198; “Declared a Jew, mason, liberal, insubordinate, impertinent, incorrigible engraver, painter, masturbator,” Sleep 52). Although the scene thus acquires political implications, which are further highlighted by the creatures’ references to their support of the king, the scene as a whole clearly is a “sueño,” a dream. But this internal, psychological oppression by creatures of the artist’s imagination is mirrored by a very real parallel scene of 124 Jesus Rubio Jiménez, “Goya y el teatro español contemporáneo. De Valle-Inclán a Alberti y Buero Vallejo,” Anales de la Literatura Española Contemporánea 24.3 (1999). (“A dream of rebellion against an oppressive situation,” my transl.) 125 Alison J. Ridley, “Goya’s Rediscovery of Reason and Hope: The Dialectic of Art and Artist in Buero Vallejo’s El sueño de al razón,” Bulletin of Hispanic Studies 73.1 (1996), 110. 126 Marion Peter Holt translates this passage more liberally: “In lamplight, resting on his arms at the far left of the table – and in the same position as in the famous etching – Goya dozes.” (50). 95
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Copyright by Laura Mareike Sager 20
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Writing and Filming the Painting: E
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Acknowledgements I would like to ex
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After developing a framework of fou
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Chapter 4: Goya’s El sueño de la
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INTRODUCTION Chapter 1: Toward a De
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arts as well as between academic di
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value” than painting, and to offe
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(ut pictura poesis).” 14 But inte
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Similarly, Ernest B. Gilman has dis
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studied in terms of composition and
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Supper, a Crucifixion), but produce
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also lose their potential to be ekp
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etween art history and film studies
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In contrast to the films Poulton di
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words, filmic ekphrasis reenacts in
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to musical ekphrasis, I allege that
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films revert to the traditional mal
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Paris 1989 and Musée du Louvre IV,
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Moreover, the woman in the green co
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hear, read or talk about the art wo
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man in the blue shirt. The man next
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fruitfully applied to poetic ekphra
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has a similar goal and will adapt h
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Poulton describes sixteen categorie
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means and other filmic devices such
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Page 55 and 56: Attributive Ekphrasis The first cat
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Page 59 and 60: instances of ekphrasis will play a
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Page 65 and 66: Inquisition trial, the works are di
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Page 71 and 72: contrasting images. In Plett’s te
Page 73 and 74: Similarly, Camilo José Cela’s Lo
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Page 77 and 78: I have discussed examples of dramat
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Page 81 and 82: Chapter 3: Goya’s The Sleep of Re
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Page 97 and 98: y Goya,”1961). 112 In both these
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Page 103: The drama takes place in December 1
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Page 109 and 110: While the first phrase (“Tal para
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Page 123 and 124: point, allowing the viewer a glimps
Page 125 and 126: eally happened. Boccherini’s musi
Page 127 and 128: moving characters are superimposed
Page 129 and 130: eason. However, this positive note
Page 131 and 132: Likewise, in Kunert’s poem, the r
Page 133 and 134: ends the nightmare sequence. Howeve
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Page 137 and 138: anger at his constant surveillance
Page 139 and 140: USES OF EKPHRASIS IN THE NOVEL AND
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Page 147 and 148: Entering the Quinta del Sordo, on t
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struggle with himself and his inter
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y strange creatures from his imagin
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marked off as actual threat, as opp
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of ekphrasis in both produces a cer
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point of view. Yet, during the same
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interpretive ekphrases), or visuall
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image to the public, in other words
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that both of these works equally pe
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concretized by the film for an audi
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competition on another level, by re
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aspirations, it seems to portray hi
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the renowned artist from classical
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Thus, as was the case with the Self
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wearing not his usual white cap or
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Thus, it is no surprise that such a
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the great genius from humble origin
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has not adopted it in his film. The
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etchings and drawings, which are, o
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While Korda also does not show Sask
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Rembrandt has aged considerably, th
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the space where his mirror is proba
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However, Zuckmayer’s interpretati
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scène is constituted by the above-
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The use of the spoken word in this
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“turned to privacy and inwardness
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etween social classes and as the co
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the production of privacy that cons
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viewer’s gaze into actively seein
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TRACY CHEVALIER AND PETER WEBBER: G
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differences between the two women,
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etween the two since Griet has star
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scene, to contrast with her tranqui
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Vermeer’s economic dependence on
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omniscient narrator who describes C
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thereafter at an auction of that pa
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Likewise, the two central ekphrasti
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the role and function of art in hum
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epresenting class tensions. This di
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Vermeer and that the name of the gi
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economic and gender structures in t
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In short, these two novels foregrou
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may compete with both the visual ar
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promotion of his public image throu
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example, in the film Girl with a Pe
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PARAGONE But why do the ekphrastic
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Since its invention, film has been
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contemporary art historians. By for
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Berger, John, and Nella Bielski. Go
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Daniel, Howard. “Introduction.”
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Hartmann, Lucrecia. Capriccio - Bil
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Lopez-Rey, José. Goya’s Capricho
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Richter, Rolf. “Goya - der Weg zu
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Stoll, Andre. “Goyas Illumionatio
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Yacobi, Tamar. “The Ekphrastic Mo
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Vita Laura Mareike Sager was born i
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