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Please try again later. This purchase was a gift for a Spanish speaking family member. She was excited about receiving it as she has other works by Lorca and appreciates this artist. His family detests her. They came to make sure he was dead, and make the sign of the cross. Let them sit on the floor. May needles prick out her eyes! La Poncia The final prayers. In the paternoster his voice rose up, and up, and up like a pitcher slowly filling with water. Of course at the end he gave a screech, but it was a glory to hear him!
He sang at the Mass for my mother, who is in glory. The walls would shake, and when he said Amen it was if a wolf was in church.
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La Poncia I may have strained something else! She goes out laughing. Servant Picking up the sound Ding, ding, dong. May God grant him forgiveness! Beggarwoman With her little girl Praise be to God! May he wait long years for us. My child and I are on our own! Servant Get out of here. Who said you could enter? The Servant goes on cleaning. Polished floors, cupboards, pedestals, iron bed-frames, while those of us who live in a mud hut with only a plate and a spoon have a bitter pill to swallow.
The bells ring out again Yes, yes, go on ringing! Bring on the box with its gold trimmings and the silk straps to lift it by!
Federico Garcia Lorca - Author
At the back of the stage the Women Mourners enter in pairs. They wear voluminous black skirts and shawls and carry black fans. They enter slowly until they have filled the stage. I was the one of all your servants who loved you most. Pulling at her hair Must I live on when you are gone? Must I live on? Bernarda Less wailing and more work. You should have made sure this house was clean for the mourners. The Servant exits sobbing.
The poor are like animals. Bernarda But they forget them faced with a plate of chickpeas.
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Bernarda I never let anyone lecture me. If you want to weep, get under your bed. Do you hear me? La Poncia Entering with a large tray, full of small white jars which she hands around. Bernarda Let them leave the way they entered. Bernarda It was his mother.
She saw his mother. We all saw him. Second woman Aside, in a low voice Evil, worse than evil! Gazing around is for those seeking the warmth of a pair of trousers. First woman In a low voice Dried up old lizard! First woman May you have health to pray for his soul. Third woman You shall never want for a loaf of warm bread. They file out past Bernarda. Angustias exits through the door leading to the courtyard.
Fourth woman May you enjoy the true harvest of your marriage. She strikes the floor with her stick. I hope it will be long before you darken my door again. The whole village was there. Bernarda Yes, to fill my house with the sweat from their clothing and the venom of their tongues. Bernarda As if a flock of goats had trampled over it.
Child, pass me a fan. Aamelia Take this one. She hands her a circular fan decorated with flowers in red and green. Through the eight years of mourning not a breeze shall enter this house. Consider the doors and windows as sealed with bricks. Meanwhile, you can embroider your trousseaux. Anything but sit here day after day in this dark room.
Bernarda Here, you do what I say. A needle and thread for women. A whip and a mule for men.
La Casa de Bernarda Alba
Bernarda In a loud voice. Let her out, now! Servant It was an effort to hold her down. She may be eighty years old but your mother is tough as an oak tree. Bernarda It runs in the family. My grandmother was the same. Servant While the mourners were here I had to gag her several times with an empty sack because she wanted to shout for you to bring her a drink of dishwater, and the dog meat she says you give her.
Bernarda Very well, but keep your headscarves on. Adela Pointedly I saw her peeping through a crack in the gate. The men have just left. Bernarda And why were you at the gate, yourself? Bernarda But the male mourners should already have left! Adela Deliberately There was a group of them still standing outside. Who were you gazing at? Translated by Gloria Garcia Lorca, the writer's niece, and Jane Duran, the family friend who became a celebrated poet, Gypsy Ballads is the most authentic version of Romancero Gitano imaginable.
In their new translation Jane Duran and Gloria Garcia Lorca have been faithful to Lorca's work, searching out original meanings, avoiding overt interpretations, reproducing metaphors, so as to bring to an English-speaking reader the pure power of Lorca's poetry. What is revealed is a kaleidoscope of sensory images, characters and stories. Lorca described his most popular collection as 'the poem of Andalusia A book that hardly expresses visible Andalusia at all, but where hidden Andalusia trembles.
This bilingual edition includes revealing insights into the Romancero and the history of the Spanish ballad form by Andres Soria Olmedo; notes on the dedications by Manuel Fernandez-Montesinos; Lorca's lecture on his own book; and an introduction to the problems and challenges faced by translators of Lorca, by Professor Christopher Maurer. Gili's selection of Lorca's poems in Spanish, with his own unassuming prose versions as guides to the originals, first appeared in With its excellent introduction and selection it remains a perfect introductory guide to the great poet. The book is ideal for newcomers to Lorca who know, or are prepared to grapple with, a little Spanish.
It influenced a generation of readers and poets, including Ted Hughes who first encountered Lorca through this book. Following the gangland execution of her husband, the formidable matriarch Bernarda Alba will do anything to safeguard her family's dubious fortune and the future of her five daughters. A deal is struck - a marriage of convenience between her eldest girl and the son of a business rival. All Bernarda has to do is ensure that the wedding happens, and quickly.
Five headstrong daughters cooped up in the family home in an emotionally charged atmosphere of bitter rivalry and repressed sexuality make that an epic challenge. One of the most celebrated European dramas of the 20th century, the play was finished by Lorca shortly before he was executed in Spain for his left-wing politics. He described it as a drama of women in the villages of Spain - a theme that is electrifyingly transposed in this version to the tough communities of Glasgow's East End.
Faithfully preserving Lorca's sense of boiling tension and impending tragedy, this adaptation brings a classic text thrillingly up to date. This text was published to coincide with the world premiere of the adaptation, a production by the National Theatre of Scotland in I have not yet been born I live off borrowed substance; what I have within me is not mine. The ill-fated lovers of Blood Wedding, the desolate Yerma, the fading spinster Rosita, and Bernarda Alba's abused household of women all inhabit a familiar Andalusia.
Their predicaments are starkly plotted, with a stagecraft rooted in classical theatrical tradition.
In such figures Lorca addresses the cultural and political ferment of his time with a fiercely libertarian assault on 'old and wrong moralities', fusing the personal and the political through his virtuoso mastery of images. Yet all that mastery can barely keep at bay the anguished contradictions of these doomed human lives. Hence the authentic sense of danger - the duende, to use his own word of Lorca's theatre, finely conveyed here in John Edmunds's fluent and rhythmic new translations that lend themselves admirably to performance. For over years Oxford World's Classics has made available the widest range of literature from around the globe.
Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. Garcia Lorca's passionate, lyrical tale of longing and revenge: Translated by Jo Clifford. Bernarda Alba is a widow, and her five daughters are incarcerated in mourning along with her.
One by one they make a bid for freedom, with tragic consequences. Lorca's tale depicts the repression of women within Catholic Spain in the years before the war. The House of Bernarda Alba is Lorca's last and possibly finest play, completed shortly before he was murdered by Nationalist sympathisers at the outbreak of the Spanish Civil War. Inspired by real characters and described by the author as 'a true record of village life', it is a tragic tale of frustration and explosive passions in a household of women rulled by a tyrannical mother.
Edited with invaluable student notes - a must for students of Spanish drama. 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. This Student Edition comes complete with a full introduction; plot synopsis; commentary on characters, context and themes; bibliography; chronology, and questions for study.
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Blood Wedding is set in a village community in Lorca's Andalusia, and tells the story of a couple drawn irresistibly together in the face of an arranged marriage. This tragic and poetic play is the work on which his international reputation was founded. Like many of Lorca's passionate and intensely lyrical plays that focus on peasant life and the forces of nature, Blood Wedding combines innovatory dramatic technique with Spanish popular tradition.
Methuen Drama Student Editions are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, the volume contains a chronology of the playwright's life and work; an introduction giving the background to the play; a discussion of the various interpretations; notes on individual words and phrases in the text; and questions for further study.
Finished just two months before the author's murder on 18 August by a gang of Franco's supporters, The House of Bernarda Alba is now accepted as Lorca's great masterpiece of love and loathing. Five daughters live together in a single household with a tyrannical mother. When the father of all but the eldest girl dies, a cynical marriage is advanced which will have tragic consequences for the whole family. Lorca's fascinatingly modern play, rendered here in an English version by David Hare, speaks as powerfully as a political metaphor of oppression as it does as domestic drama. Born and brought up in Andalusia, Lorca's reaction to the brutality and loneliness of the vast city was one of amazement and indignation.
His poetry moved away from the lyricism of the early Romanceros and became a vehicle for experimental techniques through which he expressed tortured feelings of alienation and dislocation. Based on a new edition of the original text, Greg Simon's and Steven White's new translation brings to life Lorca's arresting imagery. Christopher Maurer, a leading authority on Lorca's work, provides an enlightening introduction placing Poet in New York in context, and there are translations of Lorca's letters as well as a lecture he gave about the work.
Illustrated with archive photographs, this comprehensive volume will make Lorca's masterpiece available to a whole new generation of readers. Spain's greatest and most well-loved modern poet, Lorca has long been admired for the emotional intensity and dark brilliance of his work, which drew on music, drama, mythology and the songs of his Andulucian childhood.
From the playful Suites and stylized Gypsy Ballads, to his own dark vision of urban life, Poet in New York, and his elegaic meditation on death, Lament for Ignacio Sanchez Mejias; his range was remarkable. This bilingual edition provides versions by distinguished poets and translators, drawing on every book of poems published by Lorca and on his uncollected works.
In The House of Bernarda Alba, a tyrannical matriarch rules over her house and five daughters, cruelly crushing their hopes and needs. The other plays here also portray female characters whose desires are tragically and violently frustrated: All appeal for freedom and sexual and social equality, and are also passionate defences of the imagination: A Season in Granada brings together poems, essays and excerpts from letters by the great twentieth-century poet Federico Garcia Lorca, including two sequences of poems and an essay previously unpublished in English.
The writings form a dazzling, elegiac celebration of the city of Granada, where Lorca grew up, where he studied, and to which he returned frequently in his life and in his imagination. And where he would die. In Christopher Maurer's words, the twenty poems in the two Suites, 'Poem of the Fair', and 'Summer Hours', draw on 'the structural ideas and whimsical tone of one of Lorca's favourite composers, Claude Debussy. The idea was to capture some phenomenon - the moon, the hours of evening, the ocean, wheatfields, flamenco - in a series of stylized estampas prints or moments.
Published to celebrate the centenary of Lorca's birth, these poems, essays and letters are remarkable for their freshness and vitality, and go right to the heart of his extraordinary and passionate vision. Lorca's Blood Wedding is a classic of twentieth-century theatre. The story is based on a newspaper fragment which told of a family vendetta and a bride who ran away with the son of the enemy family. Lorca uses it to investigate the subjects which fascinated him: Ted Hughes's version stays close in spirit and letter to the original Spanish.
With marvellous directness, he fused Lorca's vision to his own, and the result is a powerful poetic text which captures all the violence and pathos of the play for an English-speaking audience. Lorca is one of the few indisputably great dramatists of the twentieth century Observer Mariana Pineda achieved immediate critical success on its first performance in Barcelona in The Public is a powerful and uncompromising demand for sexual, and specifically homosexual, freedom - as predicted it was never performed in Lorca's time - it was first performed in this country by Theatre Royal Stratford East in the 80s.
Play Without a Title, an unfinished Lorca rarity, realises his wish 'to do something different, including modern plays on the age we live in'. The second of Lorca's trilogy of rural dramas, Yerma, is a blend of contrasting moods through which Lorca charts the increasingly destructive obsession of a childless young country wife, and probes the darker zones of human fears and desires.
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The play's rich mode of expression - a combination of verbal, visual and auditory images and rhythms - is also geared to celebrating sexual attraction and fertility, creation and procreation. Through his characterization of the play's central figure, Lorca raises the question of women's social status - a controversial question both then and now, and one to which Robin Warner pays particular attention in his critical introduction to the play. He also examines the links between the dramatic structure of Yerma and the importance of cultural politics during the course of the Second Spanish Republic.