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'Yerma' is one of three tragic plays about peasants and rural life that make up Lorca's rural trilogy. It follows a woman's Herculean struggle against the curse of infertility. The woman's barrenness becomes a metaphor for her marriage in a traditional society that denies women sexual or social equality.
One of Lorca's best known plays tells the story of a young peasant wife in rural Spain whose sole conscious desire is to embody what she regards as the natural, moral and social laws governing her life as a woman in motherhood.
The mythological, folkloric, and religious beliefs of Western culture have resulted in a long and ongoing history of esoteric themes in theatre from the Middle Ages to the present in Spain and the America. Now Robert Lima, a noted comparatist, brings to bear on this material his wide knowledge of the world of the occult. Lima defines the terms "occult" and "occultism" broadly to embrace the many ways in which humans have sought to fathom a secret knowledge held to be accessible only through such supernatural agencies as alchemy, angelology, asceticism, astrology, demonolatry, divination, ecstasy, magic, necromancy, possession, Santeria, séances, voudoun, and witchcraft. The dramatic works covered range from medieval materializations of Hell to the Golden Age plays of Lope de vega, Tirso de Molina, and Calderón de la Barca, to modern stage works by Valle-Inclán, García Lorca, Casona, Miras, and a number of significant Afro-Brazilian and Caribbean dramatists. The concluding comprehensive bibliography of the drama of the occult is invaluable.
Yerma (meaning 'Barren') is one of three tragic plays about peasants and rural life that make up Lorca's 'rural trilogy'. It is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. The woman's barrenness becomes a metaphor for her marriage in a traditional society that denies women sexual or social equality. Her desperate desire for a child drives her to commit a terrible crime at the end of the play.
Love, Desire and Identity in the Theatre of Federico García Lorca by Paul McDermid Pdf
Physical desire and metaphysical love in the theatre of Federico García Lorca. A dialectical tension between physical desire and metaphysical love lies at the heart of the theatre works of Federico García Lorca, and the deployment of queer theory's critique of gender and identity is surprisingly effective inthis discussion of love versus desire. Seldom is enough attention paid to the poet's early works, and so this book offers a timely review of the 'religious tragedy' Cristo, as well as Mariana Pineda, uncoveringin these early offerings an explicit proposal of the supremacy of love over desire. A meditation on the fragmentary and challenging El público yields a vivid panorama of identity in crisis, and a paradigmatic Lorcan sacrifice of self for love. The ostensibly more conventional tragedies of Amor de Don Perlimplín con Belisa en su jardín and Yerma are also reassessed in terms of self-sacrifice and self-love. The study concludes with an argument for a practical re-reading of La casa de Bernarda Alba, which emphasises how the play might be saved from po-faced realism with music, humour and drag performance. PAUL McDERMID lectures in Spanish at Queen's University Belfast.
Author : Andrew A. Anderson Publisher : Critical Guides to Spanish Tex Page : 168 pages File Size : 44,9 Mb Release : 2003 Category : History ISBN : UOM:39015058219976
In his four last plays (Blood Wedding, Yerma, The House of Bernarda Alba, Dona Rosita the Spinster) Federico Garc ́ia Lorca offered his disturbed and disturbing personal vision to Spanish audiences of the 1930s---unready, as he thought them, for the sexual frankness and surreal expression of his more experimental work. The authentic sense of danger of Lorca's theatre is finely conveyed here in John Edmunds's fluent and rhythmic new translations that lend themselves admirably to performance.
Cat on a Hot Tin Roof - Tennessee William by Harold Bloom Pdf
Tennessee Williams's second Pulitzer Prize-winning play, Cat on a Hot Tin Roof confronts homosexuality, father and son relationships, greed, manipulation, aging, and death. Study the play that has been referred to as brutally honest.
With a rare blend of grace, warmth, and scholarship, Leslie Stainton raises the stakes of our appreciation for the greatest of Spain's modern poets, Federico Garca Lorca. Drawing on fourteen years of research; more than a hundred letters unknown to prior biographers; exclusive interviews with Lorca's friends, family, and acquaintances; and dozens of newly discovered archival material, Stainton has brought her subject to life as few writers can. She describes his carefree childhood in rural Andalusia; his residencies in Madrid and Granada, then in New York, Havana, and Buenos Aires; his potent interaction with other Spanish artists, such as Salvador Dal, Luis Buuel, and the composer Manuel de Falla; and, finally, Stainton shows how Lorca's marginal political activity during the Spanish Civil War still cost him his life. Throughout, Stainton meticulously but unobtrusively relates the oeuvre to the life. Her biography is quickly becoming the standard one-volume work on the poet.
Lorca, Bunuel and Dali were, in their respective fields of poetry and theatre, cinema, and painting, three of the most imaginative creative artists of the twentieth century; their impact was felt far beyond the boundaries of their native Spain. But if individually they have been examined by many, their connected lives have rarely been considered. It is these, the ties that bind them, that constitute the subject of this illuminating book. They were born within six years of each other and, as Gwynne Edwards reveals, their childhood circumstances were very similar. Each was affected by a narrow-minded society and an intolerant religious background which equated sex with sin and led all three to experience sexual problems of different kinds: Lorca the guilt and anguish associated with his homosexuality; Bunuel feelings of sexual inhibition; and, Dali virtual impotence. Having met during the 1920s at the Residencia de Estudiantes in Madrid, they developed intense personal relationships and channelled their respective obsessions into the cultural forms then prevalent in Europe, in particular Surrealism. Rooted in emotional turmoil, their work - from Lorca's dramatic characters in search of sexual fulfilment, to Bunuel's frustrated men and women, and Dali's potent images of shame and guilt - is highly autobiographical. Their left-wing outrage directed at bourgeois values and the Catholic Church was strongly felt, and in the case of Lorca in particular, was sharpened by the catastrophic Civil War of 1936-9, during the first months of which he was murdered by Franco's fascists. The war hastened Bunuel's departure to France and Mexico and Dali's to New York. Edwards describes how, for the rest of his life, Bunuel clung to his left-wing ideals and made outstanding films, while the increasingly eccentric and money-obsessed Dali embraced Fascism and the Catholic Church, and saw his art go into rapid decline.
Three Plays by Federico García Lorca,Michael Dewell,Carmen Zapata Pdf
Newly repackaged, three plays by Federico García Lorca In these three plays, Federico García Lorca's acknowledged masterpieces, he searched for a contemporary mode of tragedy and reminded his audience that dramatic poetry—or poetic drama—depends less on formal convention that on an elemental, radical outlook on human life. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The results, both performable and readable, have been thoroughly revised for this edition, which has an introduction by Christopher Maurer, the general editor of the Complete Poetical Works of García Lorca.
