El símbolo perdido: estética y pensamiento en las adaptaciones cinematográficas de obras de Antonio Buero Vallejo

Cuatro adaptaciones cinematográficas se han hecho de obras de Antonio Buero Vallejo, cantidad modesta si se compara con la de otros dramaturgos de su talla. En el presente artículo se analizan por primera vez estos filmes en busca de las causas que expliquen el aparente desinterés del cine hacia dicho autor. La tesis que se plantea es la de que existen dos elementos estético-filosóficos en la dramaturgia de Buero, el simbolismo y la “tragedia esperanzada”, difíciles de llevar a la gran pantalla, por lo que los adaptadores han optado siempre por mitigarlos o incluso por anularlos

New technology in Museums: AR and VR video games are coming

Museums have gone through a modernization process which has seen the adoption of new technologies in what they offer visitors. Within the framework of the new critical museology, these organizations have been transformed into places of encounter and experience, the key tools in this change being socialization and play. Gamification are now intrinsic to collections and are a way of inviting visitors to share new museum experiences through the latest technology such as AR (Augmented Reality) and VR (Virtual Reality). In this way, the museum becomes a playground and a space for creativity (Borja-Villel et al., 2014). In this research, we focus on what we consider to be an important link between the three central aspects of museum change: sociability, gamificaction and virtualization; and the growing interest in museums for videogames. Our aim is to reach a better understanding of the AR and VR video games developed for museums and how these technologies can not only motivate visitors’ interest but also improve their learning skills. Our analysis focuses of literature published between 2015 to 2018 and follows the analytic structure established by Connolly et al. (2012) with additional features related to learning experience, platforms, and the use of technologies (VR and AR). The general aim is to map the interest of the research community in the field of museum-developed video games, more specifically those that use augmented and virtual reality

Campanas a medianoche: un desafío estético para Antonio Buero Vallejo

Mientras Orson Welles rodaba Campanadas a medianoche (Chimes at Midnight, 1965), el dramaturgo Antonio Buero Vallejo elaboró por encargo del productor de la película, Emiliano Piedra, una versión literaria en verso libre y en un “castellano de la Picaresca” de sus diálogos para emplearla en el doblaje español. El texto de Buero, que lleva por título Campanas a medianoche, fue rechazado por ser considerado “demasiado literario” y hasta ahora se daba por perdido. Este trabajo detalla la participación del escritor en el proyecto y por vez primera analiza su versión. Para acometer este estudio se ha examinado la documentación conservada en el archivo personal del dramaturgo y se ha compa- rado su versión con los diálogos del filme. El análisis revela que Campanas a medianoche presenta notables diferencias con la película, lo que posee gran interés para la historia del cine, y destaca el alto valor literario del texto de Buero Vallejo.While Orson Welles was filming Chimes at Midnight (1965), Antonio Buero Vallejo wrote a version for Spanish dub. This version was written in free verse and the “Castilian of the Picaresque”. Emilio Piedra, producer of Chimes at Midnight, commanded this project. The new version was called Campanas a medianoche but this text was rejected due to its “literary style”. Up until now, it was con- sidered lost. In this paper, we analyze the work of the Spanish playwright and we research this unpublished text. We have looked up Buero’s archives and compared his work to the script. Campanas a medianoche reveals many important differences regarding the final cut of the film. For all these reasons, the version of Antonio Buero Vallejo is a key to understand Chimes at Midnight

Campanas a medianoche: un desafío estético para Antonio Buero Vallejo

Mientras Orson Welles rodaba Campanadas a medianoche (Chimes at Midnight, 1965), el dramaturgo Antonio Buero Vallejo elaboró por encargo del productor de la película, Emiliano Piedra, una versión literaria en verso libre y en un “castellano de la Picaresca” de sus diálogos para emplearla en el doblaje español. El texto de Buero, que lleva por título Campanas a medianoche, fue rechazado por ser considerado “demasiado literario” y hasta ahora se daba por perdido. Este trabajo detalla la participación del escritor en el proyecto y por vez primera analiza su versión. Para acometer este estudio se ha examinado la documentación conservada en el archivo personal del dramaturgo y se ha compa- rado su versión con los diálogos del filme. El análisis revela que Campanas a medianoche presenta notables diferencias con la película, lo que posee gran interés para la historia del cine, y destaca el alto valor literario del texto de Buero Vallejo.While Orson Welles was filming Chimes at Midnight (1965), Antonio Buero Vallejo wrote a version for Spanish dub. This version was written in free verse and the “Castilian of the Picaresque”. Emilio Piedra, producer of Chimes at Midnight, commanded this project. The new version was called Campanas a medianoche but this text was rejected due to its “literary style”. Up until now, it was con- sidered lost. In this paper, we analyze the work of the Spanish playwright and we research this unpublished text. We have looked up Buero’s archives and compared his work to the script. Campanas a medianoche reveals many important differences regarding the final cut of the film. For all these reasons, the version of Antonio Buero Vallejo is a key to understand Chimes at Midnight

New technology in Museums: AR and VR video games are coming

Museums have gone through a modernization process which has seen the adoption of new technologies in what they offer visitors. Within the framework of the new critical museology, these organizations have been transformed into places of encounter and experience, the key tools in this change being socialization and play. Gamification are now intrinsic to collections and are a way of inviting visitors to share new museum experiences through the latest technology such as AR (Augmented Reality) and VR (Virtual Reality). In this way, the museum becomes a playground and a space for creativity (Borja-Villel et al., 2014). In this research, we focus on what we consider to be an important link between the three central aspects of museum change: sociability, gamificaction and virtualization; and the growing interest in museums for videogames. Our aim is to reach a better understanding of the AR and VR video games developed for museums and how these technologies can not only motivate visitors’ interest but also improve their learning skills. Our analysis focuses of literature published between 2015 to 2018 and follows the analytic structure established by Connolly et al. (2012) with additional features related to learning experience, platforms, and the use of technologies (VR and AR). The general aim is to map the interest of the research community in the field of museum-developed video games, more specifically those that use augmented and virtual reality