O Matador Movie
Bette Keesee
Present since the sport's earliest history, the number of women in bullfighting has steadily increased since the late-19 century, both on foot and on horseback. Usually, toreros start fighting younger bulls (novillos or, more informally in some Latin American countries, vaquillas), and are called novilleros. Fighting of mature bulls commences only after a special match, called "the Alternative". At this same bullfight, the novillero (junior bullfighter) is presented to the crowd as a matador de toros.
Bullfighting on foot became a means for poor, able-bodied men to escape poverty and achieve fame and fortune, similar to the role of boxing in other countries; this is reflected in the Spanish saying Ms cornadas da el hambre. ("Hunger gives more gorings.").[2] Another frequent case for bullfighters is to be born in a family of bullfighters.[3]
In English, a torero is sometimes referred to by the term toreador, which was popularized by Georges Bizet in his opera Carmen. In Spanish, the word designates bullfighters on horseback,[4] but is little used today, having been almost entirely displaced by rejoneador. Bullfighting, historically, started more with nobles upon horseback, all lancing bulls with accompanying commoners on foot doing helper jobs. As time went by, the work of the commoners on foot gained in importance up to the point whereupon they became the main and only act. Bullfighting on horseback became a separate and distinct act called "rejoneo" which is still performed, although less often.
The established term, Maletilla or espontneo, is attributed to those who illegally jump into the ring and attempt to bullfight for their sake and glory. While the practice itself is widely despised by many spectators and fans alike, some, such as El Cordobs, started their careers in this way.
The danger associated with bullfighting added to the matador's performance; they are regularly injured by bulls and, concurrently, 533 professional bullfighters have been killed in the arena since 1700.[5] Spanish bullfighter Manolete died from an injury in 1947. Matador Ivn Fandio died on 17 June 2017 in Aire-sur-l'Adour, France, from a similar bullfighting injury.[6] This hazard is said to be central to the nature and appeal of bullfighting.
The American writer Ernest Hemingway was a bullfighting aficionado.[7][8] In his 1926 fictional work, The Sun Also Rises, the main storyline features a matador and scenes of bullfighting, as do his short stories The Capital of the World and The Undefeated.[9] Outside of fiction, he also wrote at length on the subject in Death in the Afternoon (1932) and The Dangerous Summer (1959).[9]
The banderillero is a torero who plants the banderillas (lit. little flags). These are colorful sticks, usually colored with the flag of the banderillero's birthplace, with a barbed point which are increasingly placed in the top of the bull's shoulder to weaken it. Banderilleros attempt to place the sticks while running as close to the bull as possible. They are judged by the crowd on their form and bravery. Sometimes a matador, who was a particularly skillful banderillero before becoming a matador, will place some banderillas himself. Skilled banderilleros can correct faults in the manner in which the bull charges by lancing the bull in such a way that the bull ceases hooking to one side, and thereby removing a potential source of danger to the matador by limiting the bull's offensive movements.
Because of the decorations and elaborateness of the costume, the Spanish refer to the torero's outfit as traje de luces, meaning the "suit of lights". Matador costume structure provides great ease of movement.
1. The Parade
A Spanish style guitar echos in the distance, as the participants enter the arena with a parade and are introduced to the crowd. A long and exciting accelerando ensues as the winds and percussion enter and build to a huge Latin style impact, and the fight is under way!
3. The Wounded Bull
The bull is wounded, but clings to life to fight again. After a front ensemble introduction, a beautiful and lyrical baritone or trombone solo enters. This melody is handed off to the winds as they layer in, and build to a gorgeous and moving impact.
4. The Final Round
The matador and bull engage in their final encounter. A fun and stylistic percussion feature begins this movement, complete with effective and realistic sound design. We then transition into the final segment, recapping melodies from throughout the show. A trumpet trio shows off their skills, building to the final impact, and a triumphant ending for the Matador!