{"id":16155,"date":"2016-06-27T22:18:00","date_gmt":"2016-06-27T22:18:00","guid":{"rendered":""},"modified":"2026-06-29T01:52:02","modified_gmt":"2026-06-29T01:52:02","slug":"analizan-los-origenes-dramaticos-de-la","status":"publish","type":"post","link":"https:\/\/entrepalabrasmxdigital.com\/?p=16155","title":{"rendered":"Analizan los or\u00edgenes dram\u00e1ticos de La caja de Pandora en la Cineteca Nacional"},"content":{"rendered":"<div align=\"center\" style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<ul>\n<li><i style=\"line-height: 21.3px;\"><b><span style=\"font-family: Arial, Helvetica, sans-serif;\">H\u00e9ctor Orestes Aguilar profundiz\u00f3 en las virtudes del cl\u00e1sico del Pabst as\u00ed como en la liberalidad sexual de su protagonista Lul\u00fa<\/span><\/b><\/i><\/li>\n<\/ul>\n<p><\/p>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<\/div>\n<div class=\"separator\" style=\"clear: both; text-align: center;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div class=\"separator\" style=\"clear: both; text-align: center;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><a href=\"https:\/\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEj6toljAkg_zpyCIhXd3la6qJuX5aFr4NAA0woIlYu_N0u7R7bVNKWWz4mtHS7tLD0bUiBcsS2fGUfJ8wyTu6KiJ02Cjd30vPdNDnjAP1v7KGlUo_ARDSaLDjPyveqUUbATzDhqp-wKHUy8\/s1600\/x4.jpg\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\"><img fetchpriority=\"high\" decoding=\"async\" border=\"0\" height=\"266\" src=\"https:\/\/entrepalabrasmxdigital.com\/wp-content\/uploads\/2016\/06\/x4.png\" class=\"wp-image-16156\" width=\"400\" \/><\/a><\/span><\/div>\n<p><\/p>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><br \/><\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">La vigencia de las obras teatrales de Wedekind es porque todav\u00eda nos da muchas lecturas y nos mueve mucho el piso, coment\u00f3 H\u00e9ctor Orestes Aguilar durante la conferencia de \u201cCharlas sobre cine alem\u00e1n\u201d dedicada a la adaptaci\u00f3n cinematogr\u00e1fica que G. W. Pabst realiz\u00f3 en&nbsp;<em style=\"line-height: 22.72px;\">La caja de Pandora<\/em>&nbsp;(<em style=\"line-height: 22.72px;\">Die b\u00fcchse der Pandora<\/em>, 1929), que se llev\u00f3 a cabo este 20 de junio en la Sala 4, Arcady Boytler.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">Organizada por la Coordinaci\u00f3n Nacional de Literatura del INBA, la Direcci\u00f3n de Literatura de la UNAM y la Cineteca Nacional, la serie de charlas se lleva a cabo todos los lunes y se dedica a reflexionar sobre la relaci\u00f3n entre la literatura germana y el cine. En esta sesi\u00f3n, el ensayista mexique\u00f1o explic\u00f3 los v\u00ednculos que existen entre las obras dram\u00e1ticas de Frank Wedekind y la celebrada pel\u00edcula de Pabst que inmortaliz\u00f3 a la actriz estadounidense Louise Brooks en el papel de Lul\u00fa.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\"><em style=\"line-height: 22.72px;\">La caja de Pandora<\/em>&nbsp;de G. W. Pabst fue adaptada de dos obras de teatro del dramaturgo hannoveriano:&nbsp;<em style=\"line-height: 22.72px;\">El esp\u00edritu de la tierra<\/em>&nbsp;(<em style=\"line-height: 22.72px;\">Erdgeist<\/em>, 1895) y&nbsp;<em style=\"line-height: 22.72px;\">La caja de Pandora<\/em>&nbsp;(<em style=\"line-height: 22.72px;\">Die B\u00fcchse der Pandora<\/em>, 1904). Ambas relatan la historia de Lul\u00fa, una mujer seductora cuyos amor\u00edos la llevan a tener tragedias criminales y destruyen poco a poco la vida de los hombres que la rodean. La protagonista ha sido interpretada tanto como una&nbsp;<em style=\"line-height: 22.72px;\">femme fatale<\/em>&nbsp;como una v\u00edctima martirizada.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">\u201cLo que intenta sobre todo Pabst es encontrar, primero, un personaje que d\u00e9 el ancho para la Lul\u00fa que \u00e9l quiere, que tiene que ser una Lul\u00fa distinta a Asta Nielsen [de la adaptaci\u00f3n de 1921]. Y por otro, recuperar las dos obras de Wedekind de una manera que no desmerezcan las obras de teatro pero que ya no sea literatura y ya no sea, sobre todo, una obra que de alguna manera estigmatice al personaje principal\u201d, coment\u00f3.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">El personaje fue altamente controversial en el momento de estreno de la pel\u00edcula (as\u00ed como en las adaptaciones f\u00edlmicas anteriores y cuando se publicaron las obras dram\u00e1ticas) por su extrema libertad sexual: el personaje mantiene relaciones con varios amantes al mismo tiempo, destruye matrimonios en el proceso y demuestra por primera vez en el cine alem\u00e1n, como lo apunt\u00f3 Orestes, una relaci\u00f3n abiertamente l\u00e9sbica.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">\u201cLo m\u00e1s fascinante de esta transgresi\u00f3n de Lul\u00fa es que por delante est\u00e1 su inocencia. Ella vive su plenitud sexual, su capacidad de elegir pareja, su capacidad de vivir una relaci\u00f3n heterosexual o una relaci\u00f3n homosexual y una relaci\u00f3n casi incestuosa como algo absolutamente natural\u201d, asegur\u00f3 Orestes Aguilar.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">A pesar del tratamiento vanguardista de la sexualidad en el filme, el escritor mexicano insisti\u00f3 que&nbsp;<em style=\"line-height: 22.72px;\">La caja de Pandora&nbsp;<\/em>no encierra ninguna clase de discurso de emancipaci\u00f3n de la mujer ante la dominaci\u00f3n masculina. De acuerdo con el ponente, las obras de Wedekind cuentan con muy poca densidad psicol\u00f3gica en sus personajes ya que el dramaturgo optaba por favorecer la acci\u00f3n en su puesta en escena (en lugar de la interioridad de sus personajes). De tal manera, los di\u00e1logos en&nbsp;<em style=\"line-height: 22.72px;\">El esp\u00edritu de la tierra<\/em>&nbsp;y&nbsp;<em style=\"line-height: 22.72px;\">La caja de Pandora<\/em>&nbsp;son \u00e1giles y breves, y facilitaron la tarea de adaptaci\u00f3n de Pabst.<\/span><\/div>\n<div style=\"background-color: white; line-height: 22.72px; margin-bottom: 1.35em; text-align: justify;\">\n<span style=\"font-family: Arial, Helvetica, sans-serif;\">La pr\u00f3xima sesi\u00f3n de Charlas sobre cine alem\u00e1n estar\u00e1 dedicada a&nbsp;<em style=\"line-height: 22.72px;\">El tambor de hojalata<\/em>(<em style=\"line-height: 22.72px;\">Die blechtrommel<\/em>, Volker Schl\u00f6ndorff, 1979), obra adaptada de la novela hom\u00f3nima de G\u00fcnter Grass, y se llevar\u00e1 a cabo el&nbsp;<strong style=\"line-height: 22.72px;\">lunes 27 de junio a las 18:00 horas en la Sala 4<\/strong>. La entrada es libre y las cortes\u00edas de acceso pueden ser recogidas en la taquilla 5 de la Cineteca Nacional.<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"<p>H\u00e9ctor Orestes Aguilar profundiz\u00f3 en las virtudes del cl\u00e1sico del Pabst as\u00ed como en la liberalidad sexual de su protagonista Lul\u00fa La vigencia de las obras teatrales de Wedekind es porque todav\u00eda nos da muchas lecturas y nos mueve mucho el piso, coment\u00f3 H\u00e9ctor Orestes Aguilar durante la conferencia de \u201cCharlas sobre cine alem\u00e1n\u201d dedicada [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":16156,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-16155","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - 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