From Stage to Screen: Film Adaptations of Plays" 3305-NSE-01
This course offers an overview of selected topics concerning the interrelations between cinema and theatre from both historical and contemporary perspectives. Students will be introduced to key concepts and issues related to the theory of film adaptation of literary works, including definitions of film adaptation, types of adaptations, the relationship between cinema and theatre, and the specific characteristics of adapting theatrical plays for the screen.
The course includes practical analyses of selected dramatic texts and their film adaptations, such as: "El perro del hortelano" by Lope de Vega (dir. Pilar Miró), "Bodas de sangre" by Federico García Lorca (La novia, dir. Paula Ortiz), "¡Ay, Carmela!" by José Sanchis Sinisterra (dir. Carlos Saura), "Las bicicletas son para el verano" by Fernando Fernán Gómez (dir. Jaime Chávarri), "El método Grönholm" by Jordi Galcerán (El método, dir. Marcelo Piñeyro), "El chico de la última fila" by Juan Mayorga (Dans la maison, dir. François Ozon), "Nina" by José Ramón Fernández (dir. Andrea Jaurrieta).The list of analyzed adaptations may be modified or extended depending on students’ interests.
Teaching Methods:
The course will be conducted in a seminar format, with an emphasis on interactive and student-centered methods such as moderated discussions, debates, and case analysis. Students will be encouraged to express their own opinions, present arguments, and critically engage with the topics discussed.
Content Warning:
Please note that some of the materials presented in the course may contain content that could be disturbing for sensitive viewers (e.g., violence, explicit language, or sexual content). Students are advised to take this into account when deciding to enroll in the course.
Type of course
Mode
Prerequisites (description)
Course coordinators
Learning outcomes
Knowledge
The student possesses basic knowledge of the theory of film adaptation of literary works, particularly dramatic texts. They are familiar with the most important figures in Spanish theatre and cinema and are able to situate their work within a broader cultural context. (K_W030
Skills
The student is able to critically assess and interpret phenomena related to film adaptations, placing them within Spain’s historical and cultural context. They can express their views and opinions on cinematic adaptations orally. The student is capable of analyzing and interpreting both dramatic and cinematic works using basic terminology and appropriate analytical methods. They recognize the multidimensional nature of issues within the humanities. They are able to organize knowledge, monitor their own understanding processes, and present research findings both orally and in writing. (K_U01, K_U02, K_U03)
Social Competences
The student is prepared to critically evaluate their own knowledge and skills, as well as to follow current trends and developments in Spanish theatre and cinema.(K_K01, K_K04)
Assessment criteria
Assessment Criteria
The final grade will be based on two components:
1. Class participation (25% of the final grade) – regular preparation for classes (knowledge of required readings and materials) and active, substantive engagement in discussions and debates (ability to argue, draw independent conclusions, and refer to source materials).
2. Written exam (75% of the final grade) – an open-ended test covering topics discussed during the course.
A maximum of two unexcused absences is allowed. If this limit is exceeded, the student is required to contact the course instructor to arrange a way to make up the missed content (e.g., an essay, a presentation, or an additional analysis of a source text). If more than 50% of classes are missed, the student will receive a "not classified" (NC) status.
The use of AI-based tools (e.g., ChatGPT, Gemini, Claude, Copilot) is strictly prohibited during the preparation of written assignments and in all exams or assessments. If AI-generated content is identified, the work will be disqualified, and the student may be subject to disciplinary proceedings in accordance with university regulations.
Bibliography
Primary Texts:
1. Fernán Gómez, Fernando (1984). Las bicicletas son para el verano. Espasa Calpe.
2. Galcerán, Jordi (2008). The Grönholm Method, in: Words, Things, Names: Six Plays from Spain, Panga Pank.
3. García Lorca, Federico (1974). Bodas de sangre. Espasa Calpe.
4. Lope de Vega (1970). El perro del hortelano. Castalia.
5. Mayorga, Juan (2006). El chico de la última fila. Available at: https://pl.scribd.com/doc/57938520/El-chico-de-la-ultima-fila-de-Juan-Mayorga
6. Sanchis Sinisterra, José (1991). ¡Ay, Carmela!. Cátedra.
7. Ramón Fernández, José (2017). Nina. Esperpento Ediciones Teatrales.
Recommended Readings:
1. García Barrientos, José Luis (2001). Cómo se comenta una obra de teatro. Ensayo de método. Síntesis.
2. De Diego, Rosa (2011). Teatro y cine: textos y miradas. Universidad del País Vasco.
3. Gutiérrez Carbajo, Francisco & Martínez Díez, Alonso (2013). Teatro y cine: Teorías y propuestas. Ediciones del Oro.
4. Sánchez Noriega, José Luis (1999). A Theoretical-Practical Model for the Analysis of Cinematic Adaptations of Theatrical Texts, in: A. Ríos Carratalá / John D. Sanderson (eds.), Relations between Cinema and Literature: Theatre in Film, University of Alicante.
Additional information
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: