Manchester University Press
6 The influence of Argentinian acting schools in Spain from the 1980s
Abstract
This chapter analyses the legacy of Argentinean performers and acting schools in contemporary Spanish cinema. It begins by studying how different waves of migration between Spain and Argentina resulted in rich collaborations, both in terms of industry and familial bonds (which favoured the appearance and continuation of families of actors such as the Alterios and Diosdados). The arrival of these Argentinean actors and actresses during the Transition to democracy contributed to the disappearance of traditional acting styles in Spanish cinema and promoted innovative modes and methods of performance. Thus, this chapter shows that the generation led by Cecilia Roth provided Spanish cinema with new ways of representing the body and performing femininity and sexual freedom, in films as influential as Iván Zulueta's Arrebato/Rapture (1979). The chapter concludes with a discussion on how the proliferation of Argentinean schools of acting, such as those of Cristina Rota and Juan Carlos Corazza, has contributed greatly to the success of recent generations of actors such as Penélope Cruz and Javier Bardem.
Abstract
This chapter analyses the legacy of Argentinean performers and acting schools in contemporary Spanish cinema. It begins by studying how different waves of migration between Spain and Argentina resulted in rich collaborations, both in terms of industry and familial bonds (which favoured the appearance and continuation of families of actors such as the Alterios and Diosdados). The arrival of these Argentinean actors and actresses during the Transition to democracy contributed to the disappearance of traditional acting styles in Spanish cinema and promoted innovative modes and methods of performance. Thus, this chapter shows that the generation led by Cecilia Roth provided Spanish cinema with new ways of representing the body and performing femininity and sexual freedom, in films as influential as Iván Zulueta's Arrebato/Rapture (1979). The chapter concludes with a discussion on how the proliferation of Argentinean schools of acting, such as those of Cristina Rota and Juan Carlos Corazza, has contributed greatly to the success of recent generations of actors such as Penélope Cruz and Javier Bardem.
Chapters in this book
- Front matter i
- Contents v
- List of figures vii
- Notes on contributors ix
- Acknowledgements xiii
- Introduction 1
- 1 Acting for the camera in Spanish film magazines of the 1920s and 1930s 16
- 2 Performance and gesture as crisis in La aldea maldita/The Cursed Village (Florián Rey, 1930) 42
- 3 Exaggeration and nation 59
- 4 The voice of comedy 76
- 5 The sounds of José Luis López Vázquez 96
- 6 The influence of Argentinian acting schools in Spain from the 1980s 110
- 7 Askance, athwart, aside 122
- 8 The future of nostalgia 142
- 9 Performing the nation 159
- 10 Performing sex in Spanish erotic films of the 1980s 177
- 11 Becoming Mario 189
- 12 Performing fatness 204
- 13 Disabling Bardem’s body 220
- 14 Body doubles 236
- 15 Los amantes pasajeros/I’m So Excited! (2013) 252
- Index 269
Chapters in this book
- Front matter i
- Contents v
- List of figures vii
- Notes on contributors ix
- Acknowledgements xiii
- Introduction 1
- 1 Acting for the camera in Spanish film magazines of the 1920s and 1930s 16
- 2 Performance and gesture as crisis in La aldea maldita/The Cursed Village (Florián Rey, 1930) 42
- 3 Exaggeration and nation 59
- 4 The voice of comedy 76
- 5 The sounds of José Luis López Vázquez 96
- 6 The influence of Argentinian acting schools in Spain from the 1980s 110
- 7 Askance, athwart, aside 122
- 8 The future of nostalgia 142
- 9 Performing the nation 159
- 10 Performing sex in Spanish erotic films of the 1980s 177
- 11 Becoming Mario 189
- 12 Performing fatness 204
- 13 Disabling Bardem’s body 220
- 14 Body doubles 236
- 15 Los amantes pasajeros/I’m So Excited! (2013) 252
- Index 269
