En este volumen se ofrecen al lector clásicos lorquianos como Bodas de sangre y Yerma. Asimismo, se incluyen conferencias y charlas ofrecidas por el poeta en torno a sus textos, lo que permite una aproximación aún más personal a su obra.
La edición y los prólogos, a cargo de Miguel García-Posada, permiten al lector acercarse a la complejidad de su obra y disfrutar, a lo largo de los siete volúmenes que componen esta Biblioteca Federico García Lorca, de uno de los autores españoles más relevantes del siglo XX.
Born in Fuente Vaqueros, Granada, Spain, June 5 1898; died near Granada, August 19 1936, García Lorca is one of Spain's most deeply appreciated and highly revered poets and dramatists. His murder by the Nationalists at the start of the Spanish civil war brought sudden international fame, accompanied by an excess of political rhetoric which led a later generation to question his merits; after the inevitable slump, his reputation has recovered (largely with a shift in interest to the less obvious works). He must now be bracketed with Machado as one of the two greatest poets Spain has produced in the 20th century, and he is certainly Spain's greatest dramatist since the Golden Age.
A Lorca double combo with two theatre plays. A fresh of air after so many novels. Should provide plenty fun for someone who enjoys the genre, or his prose. Readable, but not for me.
----------------------------------------------- PERSONAL NOTE: [1973] [171p] [Theater] [Not Recommendable] -----------------------------------------------
Un combo de García Lorca.
Un doble combo de Lorca con dos obras teatrales. Un aire fresco después de tantas novelas. Podría ser muy entretenido para alguien que disfruta del género, o su prosa. Leíble, pero no para mí.
Blood Wedding by Federico Garcia Lorca "O, how this spring of love resembleth. The uncertain glory of an April day; Which now shows all the beauty of the sun, And by and by a cloud takes all away!” Shakespeare explains very well what happens in this play that I for one did not find irresistible, alas For notes on this and other works you could check out my list at - https://www.youtube.com/playlist?list...
In a way, this is all too familiar The girl loves a boy, they are separated, he marries another and then the disappointed heroine is also bent on marrying in her turn. -It is oversimplifying of course But since I did not connect too well with Federico – that is a funny name and I thought it is Federico all the way up to this note- Garcia Lorca, who is listed on The Guardian list of Best 100 Books ever written. However, on the best books we do not find this Wedding, which would then have benefited from much more attention from this reader, but poems, which I did not find so far, but given the reaction to this play, I will not try hard to get.
The participants in this story do not have names, except for Leonardo. We have the mother of the groom, the groom, bride her father and so on.
Not for the best of reasons and this may prove how wrong my attitude was towards this play, I thought of…
- The Graduate, where Dustin Hoffman’s character- famous for Mrs. Robinson, are you trying to seduce me-arrives at the wedding and takes away the bride to be
The Graduate is one of the best films ever, but this theme has been replayed over and over again in all sorts of comedies, tragedies and other genres.
In Blood Wedding, I think at the core of it we have a conflict between passion and the voice of reason, with the former winning, at least for an important part of the plot The other thing that came to my mind while listening to this play was an explanation given by my professor of Literature: - On one side we have the Classics, with their belief in Reason, preference for daylight and the Sun - Opposite, there are the Romantics, with an inclination for Passion, shadows and darkness and a penchant for the Moon It is what I remember and very possibly not really what he explained, in which case I owe him both all my gratitude and regret Gratitude because some of his teachings are still with me- the importance of being versus having material possessions for instance- and then he has also taught me to love reading. On the above model, this would be a romantic work, with a passionate virgin falling for a passion and disregarding reason/ In the adaptation for the BBC that I heard earlier today there is singing, with about four songs included, if I remember well. I am not sure how that contributes to the overall rendition, which I am not crazy about, but it is the play that did not appeal to me and not the staging of it.
For lack of a better resume, there is Shakespeare who could never be surpassed:
- “My love is as a fever, longing still - For that which longer nurseth the disease, - Feeding on that which doth preserve the ill, - The uncertain sickly appetite to please. - My reason, the physician to my love, - Angry that his prescriptions are not kept, - Hath left me, and I desperate now approve - Desire is death, which physic did except. - Past cure I am, now reason is past care, - And frantic-mad with evermore unrest; - My thoughts and my discourse as madmen's are, - At random from the truth vainly express'd; - For I have sworn thee fair and thought thee bright, - Who art as black as hell, as dark as night.”
In other words, “The physician to the woman’s love” has left her and in a way she was thrown into the hands of evil –“as black as hell, as dark as night”…
A brilliant introduction to Spanish Literature - a severely underrated and undertalked-about genre. The unfortunate event of western (and by western, I mean American and British) control of the English-speaking world has caused such plays largely to be confined to scholastic canon, but this should not be the case.
Lorca's abilities were so great, the shame of his death is an understatement. Rereading these plays only enhances the writing and their symbolic meaning, articulating further why his writing was so precisely apt for the time, and so beautifully encapsulating. There is endless symbolic meaning, endless layers of socio-political commentary.
His utilisation of archetypes and stereotypes is not at all, as it were, stereotypical; they're perfect for their roles and wholly distinguishing the issues in society then, and now. The overall meanings obvious but also nuanced, necessary and beautifully presented.
There are endless symbols and beautiful metaphorical additions that are perfect fodder for thought and discussion. Lorca's grip on language and his ability to evoke stunningly accurate but whimsical pictures is astonishing (this is, of course, taking into account the 1/3 of Spanish I could translate, and the English translation I read). It reminds me of an article I read about him, where his cousin reported him teaching her how to boil an egg, 'to wait until the water starts laughing'. This is a perfectly encapsulating snippet of Lorca's linguistic brilliance.
His poetry is beautiful as well. It has that magical realism and whimsy that seems a theme throughout his work, and is nonetheless such a joy to have in the world.
A beautiful author and person gone far too soon, which reminds us of the pertinence in fighting the good fight against the ill-fortuned.
About "Blood Wedding":The rooms are in different colours , good pictures for the stage; dialogues are not very dynamic , but very poetic .The correct use of songs in the right place.The sense of hatred mixed with love. A very good setting.The mother has been characterized very well. Completely believable.A tragic folkrore story . It's authentic and picturesque when you see that on the the stage . How to use short , complete sentences in dialogues , images which draw your attention and takes you to the place.The stage is eye-catching.Suspence lingers till the end of story; you really sympathize with them.Your heart beats faster. A true genuine drama.
This play was beautiful and confusing; Lorca's poetic language and multiple references to color and blood took a while to become accustomed with, but my appreciation grew as I continued reading. Although Blood Wedding incorporates many themes, the ones that stuck with me most were gender roles and the social implications of marriage and family. This play explores the restrictive situations placed upon women living in Spain, and how deep blood runs through families.
Que no se entere Paula Pillero...... guárdenme el secreto....1... qué decir de este libro....... Lorca, poderío y costumbrismo y mis actrices favoritas.... inigualibles........ en dos palabras: ñomiti ñom
Me han encantado las dos, pero tienen tantas capas que para entenderlas todas habría que leer antes un manual (y no lo digo como algo negativo). En cualquier caso, aún quedándote en la superfice, se pueden disfrutar muchas cosas porque los dramas y las pasiones que sufren los personajes son perfectamente entendibles.
Ambas están cargadas de simbolismo, de temas espinosos que siguen de actualidad, de personajes femeninos fuertes e interesantes, de tragedia y sentimientos. Adoro a Lorca. Quiero escribir como él y me gustaría releer estas dos obras después de leer algo sobre ellas para llegar a la profundidad a la que llego leyendo Bernarda Alba.
A simple play that is never simplistic. Lorca's poetic voice flows through the narrative which raises questions about gender roles, families, and social constructs.
Cada vez que vuelvo a Lorca tengo la sensación de que me gusta su mundo o mi imaginación de su mundo —permutación de jazmín, escarcha, plata, adelfas—, pero no tanto los versos mismos, que nunca acabo de encontrar tan logrados salvo en números pequeños. En este caso, las intervenciones de la Luna y la Muerte en Bodas de sangre.
Love love love the play Blood Wedding - currently teaching to As level. Lorca is first and foremost a poet, what I love is how he combines his poetic language with a heightened naturalistic dialogue. First taught this play in late 90's but always enjoy returning to it and it's delicious imagery, stylisation, sharp pace and visual surprises. So much to find in the interpretation of characters, so much to inspire design candidates.
De esas obras que ya desde el primer párrafo uno siente la angustia y tensión en el aire y sabe que ningún final feliz es posible. Y aquella incertidumbre cargada de agobio solo crece y crece. Una trama que uno puede resumir en unas pocas oraciones pero que esa tensión in crescendo es indescriptible. El lector ya prevé lo que va a ocurrir y ahí es cuando la tensión se asienta pues al percibirla sabe que nada bueno puede salir de ello. Dos obras muy distintas entre sí pero igual de atrapantes y con esa misma sensación sofocante.
"Yo tengo fuerza en los brazos. Te voy a abrazar cuarenta años seguidos"
Me sigue flipando el cómo este señor escribiendo hace casi 100 años esto es más actual y más emancipador con las mujeres que el Premio planeta de 2020.
Este libro (y de momento, todos los que me he leído de Lorca) pasan el Test de Bechdel, tu peli favorita, no.
This was a really short and melodramatic play but it was a lot of fun! The Maid was easily my favorite character in this play. She was so nosy and all-knowing and I felt like she brought a lot of life to this play. Overall this was super over dramatic and entertaining as heck.
3.75/5 Me gustaron mucho las historias; pensaba serían aburridas pero me sorprendieron, especialmente Bodas de Sangre. Seguro leo más obras del autor en un futuro.
Dos obres, que juntament amb La Casa de Bernarda Alba, conformen la tríada de drames rurals de Lorca. Són retrats de l'Andalusia de camp dels anys 30 i la veritat és que els he gaudit moltíssim!! Bodas de Sangre explica la fuga d'una dona el dia de la seva boda i Yerma vol representar l'angoixa d'una dona que vol ser mare i no pot. Els personatges femenins en són els protagonistes principals i m'agrada perquè en ambdues obres es veuen tant dones que representen els ideals més liberals com dones que tenen filosofies més conservadores sobre el seu propi rol a la societat. Els cants populars que hi afegeix m'hi agraden molt i en general la seva manera d'escriure em sembla preciosa.
Blood Wedding - Federico Garcia Lorca - Ted Hughes - BBC Radio Drama - cheops -----------------------------------------------------------------------------
By Federico Garcia Lorca.
An evocative meditation on fate, war, tradition, passion and repression, inspired by the true story of a fatal feud between two families in the Almeria province, high in the mountains of rural Spain. A version by Ted Hughes.
One episode of approximately 1 hour 30 minutes.
With: ----- Bridegroom/Woodcutter ...... Carl Prekopp Bride ...... Sarah Smart Leonardo ...... William Ash Leonardo's Wife/Girl ...... Andrea Riseborough Father of Bride ...... David Fleeshman Beggar Woman/Neighbour ...... Mary Cunningham Servant/Mother-in-Law ...... Ellie Haddington Moon ...... Claire Benedict Girls ...... Liz Carter Woodcutter ...... Sam Curtis Woodcutter ...... Chris Hannon Littler Girl ...... Daisy Jones
Directed by Pauline Harris.
First broadcast on 25/112007 on BBC Radio 3.
About the Author: ----------------- Federico García Lorca (June 5, 1898 – August 19, 1936) was a Spanish poet and dramatist, also remembered as a painter, pianist, and composer. An emblematic member of the Generation of '27, he was killed by Nationalist partisans at the age of 38 at the beginning of the Spanish Civil War. [ FROM WIKIPEDIA :]
About the Dramatist: -------------------- Edward James Hughes OM (17 August 1930 – 28 October 1998) was an English poet and children's writer, known as Ted Hughes. Critics routinely rank him as one of the best poets of his generation. Hughes was British Poet Laureate from 1984 until his death. [ FROM WIKIPEDIA :]
About the Title: ---------------- The Spanish title of Federico García Lorca's great modernist play is Bodas de Sangre, or 'Wedding of Blood'. The title and theme came from a murder committed in 1928 in the town of Nijar in the Spanish province of Almería, when a young woman, Francisca Cañada Morales, ran off with her cousin, Francisco Montes Cañada, moments before her wedding to a local man. The cousin was then shot dead by the prospective bridegroom's brother. Lorca read about the incident in the Heraldo de Madrid newspaper and kept the cutting until he came to write the play in 1932. [ FROM http://www.telegraph.co.uk/arts/main.... ]
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This entire review has been hidden because of spoilers.
En Doña Rosita la soltera me dejó mal el primo de Rosita y su desplante, pero en Bodas de Sangre, Leonardo me ha dejado con la vida hecha mierda. Ya me decía que eso no iba a terminar bien, y ni hablar de la pobre Yerma y su fatídico final con Juan.
Blood wedding is a play I read in English, as a part of required reading for my highschool syllabus. Turning back, I realize how simple and straightforward the play is. Yet it's a tragedy that deals with love on so many levels; revenge, honour and romance. The ideologies of love, and sacrificing honour to pursue this ideal is something worth pondering. It makes you prioritize the ideals you have, whether it is the reputation or true love. It also deals with the idea of family feuds and how revenge always goes all the way around, leaving nothing but loss. The two men in the play end up dead, and only the bride is left with a bloody wedding gown. It's a tragedy that shines light on how people make foolish choices in the face of love, lust and thirst for revenge.
This entire review has been hidden because of spoilers.
Despite its subtitle here on Goodreads, the translation of "Blood Wedding" is not by W.S. Merwin but by Langston Hughes. Hughes' initial translation (buried for years in the Yale library) was corrected and retitled by director Melia Bensussen for production by the NY Shakespeare Festival. "Blood Wedding" is a beautiful lyrical tragedy, and that rare bird -- a play written by a poet but that works dramatically. Merwin's translation of "Yerma" is also lovely, though the operating voice here is unmistakably Merwin's.
Me ha encantado, recuerdo que empecé con Lorca por La casa de Bernarda Alba y la verdad es que no me dio muchas ganas de continuar pero he tenido la oportunidad de hacer un trabajo sobre Bodas de sangre y la verdad es que me ha encantado. Es una tragedia absolutamente perfecta con cantidades justas de cada elemento y personajes que se adaptan perfectamente a su tiempo; en esta obras hay escenas maravillosas y aunque Yerma me ha gustado algo menos, encuentro que el final de esta última es perfecto.
Blood Wedding is a tragedy by Spanish dramatist Federico Garcia Lorca. It was written in 1932 and first performed at Teatro Beatriz in Madrid in March 1933, then later that year in Buenos Aires, Argentina. Theater critics often group Blood Wedding with Lorca's Yerma and The House of Bernarda Alba as the "rural trilogy". Lorca's planned "trilogy of the Spanish earth" remained unfinished at the time of his death, as he did not include The House of Bernarda Alba in this group of works
Se supone que lo hacen leer en el colegio pero no fue lectura en mis años de estudiante. Lo leí ahora casi a los 30 años y sentí nostalgia. No se definir una buena lectura más que con la intensidad creativa que a veces te deja pasar por un libro. O con las ganas de seguir leyendo a Lorca y no perderse nada de él que es muy parecido quizás a perderse una especie de revelación.
Punto aparte me pareció muy feroz las relaciones familiares y amorosas que describe el libro.
I am unsure about the translation. Hughes/Merwin's choices are difficult to really enjoy. Lorca's dense poetic language is tough to read in the origianl and Hughes' translation compounds the difficult passages. Will be seeing a production in a couple of weeks so the direcctor's choices will be interesting to see.