By Maria M. Delgado
Immortalized in loss of life through The conflict, Pablo Neruda, Salvador Dalí, Dmitri Shostakovich and Lindsay Kemp, Federico García Lorca's spectre haunts either modern Spain and the cultural panorama past.
This research deals a clean exam of 1 of the Spanish language’s so much resonant voices; exploring how the very components which ended in his emergence as a cultural icon additionally formed his dramatic output.
The works themselves also are offered the distance that they deserve, combining functionality histories with incisive textual research to restate Lorca’s presence as a playwright of amazing imaginative and prescient, in works such as:
- Blood Wedding
- The Public
- The condominium of Bernarda Alba
Federico García Lorca is a useful new source for these looking to comprehend this complicated and multifaceted determine: artist, playwright, director, poet, martyr and within the eyes of many, Spain’s ‘national dramatist’.
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Additional info for FEDERICO GARCIA LORCA (Routledge Modern and Contemporary Dramatists)
The plays are often read as veiled autobiography commenting on his predicament. As such unsatisﬁed passion and thwarted desire are repeatedly located as dominant motifs (Honig 1945: 177; Mora Guarnido 1958: 166; Río 1952: 62, 140); the crafting of strong female roles assumed to be a veiled portrait of displaced homosexual desire (Binding 1985: 173; Gibson 1989: 356). Such readings, however, simply fail to consider the material conditions in which Lorca crafted his works, dominated by powerful actress-managers like Margarita Xirgu and Lola Membrives.
If Lorca is now viewed as Spain’s ‘national’ poet, this is in part due to the fact that Spain’s cultural construction has been indelibly marked by the idioms and myths of Andalusia. Even the cover of the ﬁrst edition of Gypsy Ballads, featuring a blood-red map of Spain, testiﬁes to an interweaving of the national and the regional in ways that draw upon the iconography of both. The national poet There is a strong critical consensus that views Lorca as ‘the essence of Spain’ (Neruda 1984: 60) and ‘Spanish to the point of exaggeration’ (Cernuda 1970: 162), assessing his work as essentialist in its embodiment of facets of Spanishness (Johnston 1998a: 41; Río 1952: 153, 167–8).
Binding’s 1985 opus, Feal Deibe’s (1989) study and Smith’s (1989, 1998) highly sophisticated deconstructions of the Lorca ‘cult’ draw heavily on psychoanalysis in constructing their treatments of discourses of homosexuality. Smith’s concentration on the more marginal or ‘impossible’ works indicates a trend increasingly pursued by Lorca scholars. Fernández Cifuentes (1986), Wright (2000), Harretche (2000), and Jerez Farrán (2004) 36 Life, politics and mythology all provide close readings of texts that have either habitually been judged minor works (like The Butterﬂy’s Evil Spell or Mariana Pineda) or positioned within the realms of the surreal or the unstageable (like The Public and When Five Years Pass).