Parsifal al margen. Wagner en el proceso interartístico e intermedial en el Fin del Parzival de Vostell y Dalí

In the late 1970s, Wolf Vostell set out to materialize Salvador Dalí’s scenic project, conceived in the 1920s for Richard Wagner’s opera Parsifal, which was intended to be staged in Paris. The outcome of this interartistic and intermedial dialogue, Fin del Parzival, is currently exhibited at the Wolf Vostell-Malpartida Museum in Cáceres, Spain. The work situates a complex ‘assembly’ of ‘advanced’ art in a ‘natural’ environment (Los Barruecos Natural Park), attracting and intensifying the center/periphery dialectic inherent in avant-garde and neo-avant-garde movements, as highlighted by Fernando Castro Flórez (2015). Within this framework, the article analyzes the particular significance of the substitution of the ‘bicycles’ from Dalí’s Parisian scenography with Wolf Vostell’s ‘motorcycles’, some of which belonged to Franco’s personal guard.