Palabras clave
adaptación
recepción
ópera popular
musical
Cómo citar
Resumen
Las obras de Shakespeare cuentan con una rica tradición crítica de recepción, adaptación y reinterpretación a través de diversos lenguajes y contextos musicales (Sanders 2007; Hansen 2010; Teague 2011; Severn 2018; Wilson and Cooke 2022). Este artículo examina Giulietta e Romeo (2007), una adaptación musical italiana de Riccardo Cocciante que ha recibido escasa atención crítica (Paravano 2018). Como estudio de caso, la producción constituye un ejemplo revelador de los desafíos inherentes a la adaptación de obras canónicas, al ilustrar los riesgos de la innovación cuando el impacto emocional y la ejecución creativa resultan insuficientes. A partir de los estudios críticos sobre intermedialidad y teoría de la adaptación (Desmet 2014; Fazel y Geddes 2017, 2021; Lanier 2014, 2017, 2022), este trabajo evalúa las dificultades de reinterpretar una de las tragedias más icónicas de Shakespeare en el tercer milenio. Asimismo, empleando el modelo rizomático de Douglas Lanier (2014) se explora cómo la adaptación de Cocciante ofrece una perspectiva novedosa de Romeo y Julieta al poner de relieve su esencia italiana. Si bien se enraíza en el texto shakespeariano, la producción dialoga también con las fuentes italianas de la obra y con el rico patrimonio cultural y musical del país. Como mostrará este análisis, a pesar de su intento de arrojar nueva luz sobre la historia de los amantes de Verona, la adaptación de Cocciante presenta dos limitaciones significativas, especialmente en comparación con reinterpretaciones musicales anteriores. En primer lugar, su formato híbrido de opera popolare (ópera popular) no logra captar ni la sofisticación de la ópera ni el dinamismo de los musicales contemporáneos. En segundo lugar, sus desviaciones del original de Shakespeare complican aún más su eficacia como adaptación.
Citas
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