Related Papers
Revista 452F
From Performance to Print: Exporting Lorca Through Paperback Translations of La casa de Bernarda Alba (1998-2012)
2014 •
Jennie Rothwell
Routledge
"Baroque Lorca: An Archaist Playwright for the New Stage"
2020 •
Andrés Pérez-Simón
"Baroque Lorca: An Archaist Playwright for the New Stage" defines Federico García Lorca’s trajectory in the theater as a lifelong search for an audience. It studies a wide range of dramatic writings that Lorca created for the theater, in direct response to the conditions of his contemporary industry, and situates the theory and praxis of his theatrical reform in dialogue with other modernist renovators of the stage. This book makes special emphasis on how Lorca engaged with the tradition of Spanish Baroque, in particular with Cervantes and Calderón, to break away from the conventions of the illusionist stage. The five chapters of the book analyze Lorca’s different attempts to change the dynamics of the Spanish stage from 1920 to his assassination in 1936: His initial incursions in the arenas of symbolist and historical drama ("The Butterfly’s Evil Spell," "Mariana Pineda"); his interest in puppetry ("The Billy-Club Puppets" and "In the Frame of Don Cristóbal") and the two ‘human’ farces "The Shoemaker’s Prodigious Wife" and "The Love of Don Perlimplín and Belisa in the Garden"; the central piece in his project of ‘impossible’ theater ("The Public"); his most explicitly political play, one that takes the violence to the spectators’ seats ("The Dream of Life"); and his three plays adopting, an altering, the contemporary formula of ‘rural drama’ ("Blood Wedding," "Yerma" and "The House of Bernarda Alba").
Wiley Companion to World LIterature
Federico García Lorca: Mediating Tradition and Modernity for a World Audience
2019 •
Roberta Ann Quance
Federico García Lorca's work has one foot in tradition and the other in modernity, bridging the rural and the urban but also deriving a peculiar force from contradictions between the two. This in-between status may very well be what brought Lorca and, through him, Spanish literature out of the periphery of Europe and on to a world stage. In his first mature work, Lorca interprets ancient traditions (flamenco and folksong), but he does so with a difference, using avant-garde technique or linking desire to a foregone frustration. The balladeer figure in the Gypsy Songbook mediates between an ancient community of gypsies and their "civilized" opponents. In Poet in New York, the poet seeks to mediate the loss of religious faith and the crisis of values triggered by the Great Depression. Lorca's theater starts with modernity's refusal of prescriptions for desire and a commitment to a politics of individual freedom.
Indi@logs Vol 6 2019, pp 179-190, ISSN: 2339-8523
BECOMING INDIANS: CERVANTES AND GARCÍA LORCA
2019 •
Subhas Yadav
This article deals with reception of Cervantes’s works, particularly Don Quixote de la Mancha in India, and the select works of Andalusian poet Federico Garcia Lorca. Indian culture has its own historical and peculiar traditions; hence, the foreign literary and cultural products do not get an easy access to its domain. Western works even have lesser chance to do so, for their obvious differences. However, the amenable reception of Cervantes’s immortal piece Don Quixote, and remarkably sensual universal plays of Federico Garcia Lorca e.g. La Casa de Bernarda Alba, Yerma, Bodas de Sangre etc have since a long time dominated the theatrical space in India. With this paper I would like to explore this unique phenomenon. How Spanish literary works enjoy such warm reception is indeed a matter of due academic attention.
The Greek Lorca: Translation, Homage, Image
Anna Rosenberg
Written Report in Blood Wedding
Leah Joy Usi
Miscelánea: A Journal of English and American Studies
Speaking through Another Culture": Frank McGuinness’s Version of Federico García Lorca’s The House of Bernarda Alba (La Casa de Bernarda Alba)
2019 •
María del Mar González Chacón
Translation and adaptation play an essential role in Irish contemporary theatre. Irish playwrights have turned to continental writers, such as Federico García Lorca, to rewrite their culture through another culture. Frank McGuinness has followed this tradition but, while his rewritings of Euripides or Sophocles have been widely discussed by scholarship, his version of Lorca’s The House of Bernarda Alba (1991) remains an unpublished text and, consequently, has not been the object of critical attention. This article intends to engage in close analysis of the play, addressing the strategies used by McGuinness to accommodate Lorca in the Irish context, and how the Lorquian themes voice the situation of women in the Northern Ireland of the 1990s, where McGuinness’s play was first produced.
Blood Wedding
Fatima Nasir
The play, which is often defined as a rural tragedy, incorporates themes of death, distrust, dark omens and foreboding doom. Centered around a newly married couple that has wed into a world of feuding and rage, the two lovers must survive in surroundings that purport dark omens and sorrow. The abstract nature of the piece makes it difficult to survey the main plot further, however CSUN’s production will no doubt elucidate the production on the stage. Blood Wedding, originally written in the 1930’s, was a very socially conscious and progressive piece of experimental theater, said Jackson. As opposed to presenting something safe or orthodox, Jackson said her goal is to maintain the surrealism of Lorca’s work while still achieving an abstract perspective that speaks to the play’s themes.
Contemporary Theatre Review
Twentieth‐Century Spanish stage design
1998 •
John London
This article provides a short history of twentieth‐century Spanish stage design. Starting with an introduction to the way in which painted backdrops developed from the nineteenth century, mention is made of important designers such as Amalio Fernández and Salvador Alarma. By the 1920s, the director Gregorio Martínez Sierra had promoted new approaches to design. Dramatists like Lorca, Valle‐Inclán and Jardiel Poncela evolved a new aesthetic in written stage directions.
Nihilism in turn-of-the-century Spanish drama
2014 •
Tyler R Oakley
