Play-to-Film Adaptations…


Happy New Year!

WELL…computers still in the stolen vehicle, and waitin’ for the return of “t” “o” “y” letters, so that we, as writers, can also use our personal PCs again. I begin to think about the characters in the play that I’d like to adapt for film, the play insofar called La Controversia del Arte, the film L’Opposition. I started looking at instructions for the guitar. Great. The guitar in Department of Defense/Federal government playground heap. A cheap guitar, nevertheless, but a functioning guitar that would allow me to pick a few chords. Some instructions start you in G Major chord and with the first three frets. Kewl… I can handle that. With the help of the/a guitar.

Ultreyas! Which means onward. Workin’ on the Spanish, too. Yo necesito mas frutas. Helps the digestive system and the brain. So for the film adaptation, I’m still trying to figure out the bridge between ideas about the Spanish Civil War/Spanish American War and Flamenco dancing. I have an idea about the costumes for the play and film as well as some of the type of guitar music.

Still a handle on the characters for the play, I may expand characters, my draft being on the “documents” section of my two “in-vehicle” computers. I can’t complain to the Department of Defense and Federal government enough, which is what we’re suppose to do under these conditions–and personally they haven’t done enough still citizens and consumers think for the mass criminals who continue to stalk us and me. They have them. But it’s ridiculous their setup in catching them. I fail to see the safety in the way they work at continuous tracking of them.

Back to some fun. I’m going to need to expand, I think, on the dancing partner and/or partners for the characters; so this opens up new character development and configuring, perhaps, into the story. For the film adaptation, I’m thinking of taking the story to a more political level, more conflict, issues, and obviously dancing scenes–looking at how the dancing fits into politics–perhaps. This will come. I also still have to pinpoint more of a time frame for both play and film. History usually interests me, so we’ll see what happens; but I also want to stay current with Flamenco dance and style. I think it’s integrating characters, threading them well between the two distinctions; and that’s where Public Art comes into play. What defines Public Art? Some associations are very easy. People see the public perform dance; dance is art; but what shapes Public Art–drives it in other words. It’s interesting. I’ve heard there’s still much respect and call for Flamenco dancing, and I’ve heard people haven’t kept up as much with it in terms of focal area for public discussion and general community activity. The thing is it’s probably one of the most artistically  underrated dance forms/styles. The style, culture of it, deserves more. I’m really adamant on the costumes aligning with the gesture/body movements. I think the clothes speak volumes. The clothes, shoes for both male and female have to be just right. For me, it’s without poofy flare at the bottom and poofy arms, etc. I can’t see the dancer’s feet, arms, etc. The entire body is expressive. So unlimited I find, meaning contouring until I find, is what I’m aiming for. Guess what?  I was researching “the bridge” and found out that California’s San Juan Capistrano’s website link companioned with Capistrano, Italy, in 1865, Abraham Lincoln returned the mission to the Catholic Church. Ultreyas!


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