Editing Salvador Dalí (section)

=== Theater and film ===
In theater, Dalí designed the scenery for [[Federico García Lorca]]'s 1927 romantic play ''[[Mariana Pineda (play)|Mariana Pineda]]''.<ref>{{cite web|url=http://www.kirjasto.sci.fi/fglorca.htm |title=Federico García Lorca |website=Books and Writers (kirjasto.sci.fi) |first=Petri |last=Liukkonen |publisher=[[Kuusankoski]] Public Library |location=Finland |archive-url=https://web.archive.org/web/20150210175324/http://www.kirjasto.sci.fi/fglorca.htm |archive-date=10 February 2015 |url-status=dead }}</ref> For ''[[Bacchanale]]'' (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera ''Tannhäuser'', Dalí provided both the set design and the libretto.<ref>Gibson, Ian (1997) pp. 385, 398–99</ref> He executed designs for a number of other ballets including ''Labyrinth'' (1942), ''Sentimental Colloquy'', ''Mad Tristan'', ''The Cafe of Chinitas'' (all 1944) and ''[[The Three-Cornered Hat]]''  (1949).<ref>{{cite web |url=http://www.marquette.edu/haggerty/exhibitions/past/dalihat.html |title=Past Exhibitions |archive-url=https://web.archive.org/web/20060903014732/http://www.marquette.edu/haggerty/exhibitions/past/dalihat.html |archive-date=3 September 2006 |work=[[Haggerty Museum of Art]] |access-date=8 August 2006 |publisher=[[Marquette University]]}}</ref><ref name=":1" />

[[File:Un Chien Andalou (1929).webm|thumb|thumbtime=5|left|''[[Un Chien Andalou]]'' (1929), a collaboration with [[Luis Buñuel]]]]
Dalí became interested in film when he was young, going to the theater most Sundays.<ref>"Dalí & Film"  Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007.</ref> By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves"<ref>Gibson, Ian (1997) p. 174</ref> and went on to collaborate with the director Luis Buñuel on two Surrealist films: the 17-minute short ''[[Un Chien Andalou]]'' (1929) and the feature film ''[[L'Age d'Or]]'' (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of ''Un Chien Andalou'', but there is controversy over the extent of Dalí's contribution to ''L'Age d'Or''.<ref>Gibson, Ian (1997) pp. 248–49</ref> ''Un Chien Andalou'' features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality.<ref>Eberwein, Robert T. (2014). ''[https://books.google.com/books?id=EbD_AwAAQBAJ&pg=PA83 Film and the Dream Screen: A Sleep and a Forgetting] {{Webarchive|url=https://web.archive.org/web/20200217091955/https://books.google.com/books?id=EbD_AwAAQBAJ&pg=PA83&dq= |date=17 February 2020 }}''. Princeton University Press. p. 83. {{ISBN|1-4008-5389-3}}.</ref> ''L'Age d'Or'' is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown.<ref>Gibson, Ian (1997), pp. 267–74</ref> Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated: "If Un Chien Andalou stands as the supreme record of Surrealism's adventures into the realm of the unconscious, then L'Âge d'Or is perhaps the most trenchant and implacable expression of its revolutionary intent."<ref>Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.</ref>

After he collaborated with Buñuel, Dalí worked on several unrealized film projects including a published script for a film, ''Babaouo'' (1932); a scenario for [[Harpo Marx]] called ''Giraffes on Horseback Salad'' (1937); and an abandoned dream sequence for the film ''Moontide'' (1942).<ref>"Dali: Painting and Film," Press release, Museum of Modern Art, June 2008</ref> In 1945 Dalí created the dream sequence in Hitchcock's ''[[Spellbound (1945 film)|Spellbound]]'', but neither Dalí nor the director was satisfied with the result.<ref>Gibson, Ian (1997) pp. 434–35</ref> Dalí also worked with [[Walt Disney]] and animator [[John Hench]] on the short film ''[[Destino]]'' in 1946.<ref name=":3" /> After initially being abandoned, the animated film was completed in 2003 by Baker Bloodworth and Walt Disney's nephew [[Roy E. Disney]]. Between 1954 and 1961 Dalí worked with photographer [[Robert Descharnes]] on ''The Prodigious History of the Lacemaker and the Rhinoceros'', but the film was never completed.<ref>Gibson, Ian (1997) p. 479</ref>

In the 1960s Dalí worked with some directors on documentary and performance films including with [[Philippe Halsman]] on ''Chaos and Creation'' (1960), [[Jack Bond (director)|Jack Bond]] on ''Dalí in New York'' (1966) and [[Jean-Christophe Averty]] on ''Soft Self-Portrait of Salvador Dalí'' (1966).<ref>Gibson, Ian (1997), pp. 519, 726</ref>

Dalí collaborated with director José-Montes Baquer on the pseudo-documentary film ''Impressions of Upper Mongolia'' (1975), in which Dalí narrates a story about an expedition in search of giant hallucinogenic mushrooms.<ref>Elliott H. King, [http://www.kamera.co.uk/article.php/895 ''Dalí, Surrealism, and Cinema''] {{Webarchive|url=https://web.archive.org/web/20070621210510/http://www.kamera.co.uk/article.php/895 |date=21 June 2007 }}, Kamera Books 2007, p. 169.</ref> In the mid-1970s film director [[Alejandro Jodorowsky]] initially cast Dalí in the role of the Padishah Emperor in a production of ''Dune'', based on the novel by Frank Herbert. However, Jodorowsky changed his mind after Dalí publicly supported the execution of alleged ETA terrorists in December 1975. The film was ultimately never made.<ref>Gibson, Ian (1997) p. 562</ref><ref>{{cite web|url=http://jodorowskysdune.com/synopsis.html|title=Jodorowsky's Dune – Official Website of the Documentary – Synopsis|work=jodorowskysdune.com|url-status=dead|archive-url=https://web.archive.org/web/20150217071152/http://jodorowskysdune.com/synopsis.html|archive-date=17 February 2015|access-date=14 February 2015}}</ref>

In 1972 Dalí began to write the scenario for an opera-poem called ''[[Être Dieu]]'' ([https://web.archive.org/web/20140802151038/http://www.salvadorbrand.com/Salvador-Brand/opera.html ''To Be God'']). The Spanish writer [[Manuel Vázquez Montalbán]] wrote the libretto and [[Igor Wakhévitch]] the music. The opera poem was recorded in Paris in 1974 with Dalí in the role of the protagonist.<ref>Gibson, Ian (1997) pp. 556–557</ref>