by Federico García Lorca ﯾﺮﻣﺎ {Read Ebook {PDF EPUB Federico García Lorca. Web sobre Federico García Lorca (1898-1936), destacado poeta , dramaturgo y narrador, que forma parte de la Generación del 27, en el contexto de la literatura española del siglo XX . Natural de Fuente Vaqueros (Granada), la vida y trayectoria intelectual de García Lorca se truncaron bruscamente en agosto de 1936, con el inicio de la guerra civil española. Su poesía, teatro y prosa reflejan el habla, la música y las costumbres de la sociedad rural española donde el surrealismo contrasta con la imagen real de España. «El teatro es uno de los más expresivos y útiles instrumentos para la educación de un país y el barómetro que marca su grandeza o su descenso. Un teatro sensible y bien orientado en todas sus ramas, desde la tragedia al vodevil, puede cambiar en pocos años la sensibilidad de un pueblo; y un teatro destrozado, donde las pezuñas sustituyen a las alas, puede achabacanar a una nación entera. El teatro es una escuela de llanto y de risa y una tribuna libre donde los hombres pueden poner en evidencia morales viejas o equivocadas y explicar con ejemplos vivos normas eternas del corazón y el sentimiento del hombre». Federico García Lorca, palabras en el Teatro Español de Madrid durante una representación especial de Yerma , [1934-1935]. Federico García Lorca y la generación del 27. La Generación del 27 se divide en tres etapas según los cambios de estilo de los escritores debido a las influencias externas de la historia. En la primera (hasta 1927) se puede percibir el influjo de la lírica popular , mediante cual tratan eliminan el sentimiento y se centran en buscar la emoción artística, la cual da pie al uso de la metáfora. En la segunda etapa (1927-1936) predomina el proceso de rehumanización y el uso de las vanguardias, el surrealismo en concreto. La tercera etapa (después de la guerra) está marcada por el exilio de los artistas, los cuales se dedicaron a escribir respecto a su nostalgia de la España lejana. Los que continuaron residiendo en el pais, en cambio, mostraban mediante sus obras un. Federico García Lorca. Entre los escritores de la generación del 27 destacan Pedro Salinas, Rafael Alberti y Federico García Lorca. Lorca compartía, junto con otros, características como la ruptura con el pasado y las influencias modernas en sus obras. La simbología tambien es subrayable en este autor, la cual muestra su gusto por los elementos tradicionales. Aunque Lorca asimiló la influencia moderna, sus obras están plagadas de tradicionalismos. La metáfora también es el procedimiento central de su estilo, haciendo uso de condensaciones expresivas y de elipsis. Federico Garcia Lorca. Spanish poet and dramatist, Lorca was a talented artist and a member of the 'Generation of 1927', a group of writers who advocated avant- gardism in literature. García Lorca read law at the University of Granada. At the same time he studied music collaborating in the 1920s with Manuel de Falla, becoming an expert pianist and guitar player. In Madrid he entered the Residence de Estudiantes, a modern college and the intellectual center of the town. During this period his friends included the writers Juan Ramón Jiménez. and Pablo Neruda. He also worked with Salvador Dali and Louis Bunuel in different productions. When the two made their notorious short film Un Chien Andalou (1928), García Lorca was offended: he thought that the film was about him. Through recitals of his poetry García Lorca became known even before the publication of his first collection. As a writer García Lorca made his debut with 'Libro De Poemas' (1921), a collection of fablelike poems. In 1923 García Lorca earned a degree in law, but the turning point in his literary career was folk music festival Fiesta de Cante Jondo in 1922, where he found inspiration for his work from the traditions of folk and gypsy music. In 1927 García Lorca gained fame with his romantic historical play arina Pineda where the scenery was constructed by Salavador Dali and the distinguished actress Margarita Xirgu played the heroine. By 1928, with the publication of RIMER ROMANCERO GITANO he was the best- known of all Spanish poets, and leading member of the 'Generation of 27', which included Luis Cernuda, Jorge Guillen, Pedro Salinas, Rafael Alberti and others. In 1929-30 García Lorca lived in the city of New York, on the campus of Columbia University. Unable to speak English he suffered a deep culture shock. His suicidal mood was recorded in posthumously published OETA EN NUEVA YORK(1940, Poet in New York), in which he praised Walt Whitman. The poet condemns the frightening, physically and spiritually corrupted city, and escapes to Havana to experience the harmony of a more primitive life. After a short visit to Cuba, García Lorca was back in Spain by 1931, and continued with theatre productions. He became the head the traveling theatrical company, La Barraca, which brought classical plays and other dramas to the provinces. After the death of his friend, a bullfighter, García Lorca wrote ament for the Death of a Bullfighter(1935), which has been regarded by most critics as his greatest poem. The work is divided into four sections, whose individual motifs are weaved together. The figure of one man facing death in the bullring, exemplified by his friend Ignacio Sánchez Mejías, expressed the author's tragic sense of death. Mejías himself had written a play and he was well-known in the literary circles. García Lorca's central themes in his works are love, pride, passion and violent death, which also marked his own life. The Spanish Civil War began in 1936 and García Lorca was seen by the right-wing forces as an enemy. The author hid from the soldiers but he was soon found, dragged from a friend's house, and shot in Granada on August 19/20 of 1936 without trial by the Nationalists. The circumstances of his death are still shrouded in mystery. He was buried in a grave that he had been forced to dig for himself. Federico García Lorca. Our editors will review what you’ve submitted and determine whether to revise the article. Federico García Lorca , (born June 5, 1898, Fuente Vaqueros, Granada province, Spain—died August 18 or 19, 1936, between Víznar and Alfacar, Granada province), Spanish poet and playwright who, in a career that spanned just 19 years, resurrected and revitalized the most basic strains of Spanish poetry and theatre. He is known primarily for his Andalusian works, including the poetry collections Romancero gitano (1928; Gypsy Ballads ) and Llanto por Ignacio Sánchez Mejías (1935; “Lament for Ignacio Sánchez Mejías,” Eng. trans. Lament for a Bullfighter ), and the tragedies Bodas de sangre (1933; Blood Wedding ), Yerma (1934; Eng. trans. Yerma ), and La casa de Bernarda Alba (1936; The House of Bernarda Alba ). In the early 1930s Lorca helped inaugurate a second Golden Age of the Spanish theatre. He was executed by a Nationalist firing squad in the first months of the Spanish Civil War. Why is Federico García Lorca important? In a career spanning just 19 years, Federico García Lorca resurrected and revitalized the most basic strains of Spanish poetry and helped inaugurate a second Golden Age of the Spanish theater. Lorca was the most important Spanish poet and playwright of the 20th century, and his work still influences writers and artists throughout the world. What was Federico García Lorca’s childhood like? The eldest of four children born to a wealthy landowner and his schoolteacher wife, Federico García Lorca grew up in rural Andalusia amid images and social conditions that later influenced his work. At age 10 he moved with his family to Granada, where he attended a private, secular institute and a Roman Catholic public school. Where was Federico García Lorca educated? Federico García Lorca enrolled in the University of Granada but was a hapless student best known for his extraordinary talents as a pianist. He took nine years to complete a bachelor’s degree. What did Federico García Lorca write? Federico García Lorca is known primarily for his Andalusian works, including the poetry collections Gypsy Ballads (1928) and Lament for a Bullfighter (1935), and the tragedies Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936). How did Federico García Lorca die? On August 16, 1936, at the beginning of the Spanish Civil War, Federico García Lorca was arrested in Granada by Nationalist forces, who abhorred his homosexuality and his liberal views, and was imprisoned without a trial. On the night of August 18 or 19, he was driven to a remote hillside outside town and shot. Early years. The eldest of four children born to a wealthy landowner and his schoolteacher wife, Lorca grew up in rural Andalusia, surrounded by images and social conditions that influenced his work lifelong. At age 10 he moved with his family to Granada, where he attended a private, secular institute in addition to a Catholic public school. Lorca enrolled in the University of Granada but was a hapless student best known for his extraordinary talents as a pianist. He took nine years to complete a bachelor’s degree. Despite plans to become a musician and composer, he turned to writing in his late teens. His first experiments in prose, poetry, and drama reveal an intense spiritual and sexual malaise along with an adolescent devotion to such authors as Shakespeare, Goethe, the Spanish poet Antonio Machado, and the Nicaraguan poet Rubén Darío, father of Hispanic Modernismo, a late and decadent flowering of Romanticism. In 1919 Lorca moved to the Residencia de Estudiantes in Madrid, a prestigious and socially progressive men’s residence hall. It remained his home in the Spanish capital for the next decade. His fellow residents included the filmmaker Luis Buñuel and the artist Salvador Dalí, who later became a close companion. In Madrid, Lorca also befriended the renowned older poet Juan Ramón Jiménez and a circle of poets his own age, among them Rafael Alberti, Jorge Guillén, and Pedro Salinas. Early poetry and plays. A consummate stylist, Lorca sought throughout his career to juxtapose and meld genres. His poems, plays, and prose often evoke other, chiefly popular, forms of music, art, and literature. His first book, Impresiones y paisajes (1918; Impressions and Landscapes ), a prose work in the modernista tradition, chronicled Lorca’s sentimental response to a series of journeys through Spain as a university student. Libro de poemas (“Book of Poems”), an uneven collection of predominantly modernista poems culled from his juvenilia, followed in 1921. Both efforts disappointed Lorca and reinforced his inherent resistance to publication, a fact that led to frequent delays in the publication and production of his work. Lorca preferred to perform his poems and plays, and his histrionic recitations drew innumerable admirers. The Spanish stage director Gregorio Martínez Sierra premiered Lorca’s first full-length play, El maleficio de la mariposa ( The Butterfly’s Evil Spell in Five Plays: Comedies and Tragi-Comedies , 1970), a symbolist work about a lovesick cockroach, in Madrid in 1920. Critics and audiences ridiculed the drama, and it closed after four performances. Lorca’s next full-length play, the historical verse drama Mariana Pineda (written 1923; Eng. trans. Mariana Pineda ), opened in 1927 in a production with sets by Dalí and received mixed notices. In the early 1920s, Lorca began experimenting with short, elliptical verse forms inspired by Spanish folk song, Japanese haiku, and contemporary avant-garde poetics. He wrote a prodigious series of brief poems arranged in thematic “suites,” later collected and published in 1983 under the title Suites . (Virtually all of Lorca’s poetry—that contained in the volume under discussion and in the other Spanish volumes mentioned in this biography—has been translated in Collected Poems , 1991). In 1922 Lorca collaborated with the eminent Andalusian composer Manuel de Falla on a festival of cante jondo (“deep song”) in Granada. The endeavour heightened Lorca’s interest in popular Andalusian song, and in a blaze of inspiration he wrote a series of poems based on songs of the Andalusian Gypsies (Roma). Even more compressed than Suites , Poema del cante jondo (written 1921–25, published 1931; Poem of the Deep Song ), offers a radical synthesis of the traditional and the avant-garde. The series signaled Lorca’s emergence as a mature poet. His collaboration with Falla further prompted Lorca to investigate the Spanish puppet theatre tradition, and in 1923 he wrote Los títeres de Cachiporra (“The Billy-Club Puppets”), the first of several versions of a puppet play inspired by the classic Andalusian Grand Guignol. From 1925 to 1928, Lorca was passionately involved with Salvador Dalí. The intensity of their relationship led Lorca to acknowledge, if not entirely accept, his own homosexuality. At Dalí’s urging, the poet began to experiment more boldly with avant-garde currents in the art world, notably surrealism, although he refused to align himself with any movement. In poems such as “Oda a Salvador Dalí” (1925–26; “Ode to Salvador Dalí”), Canciones (written 1924, published 1926; Songs ), and a series of abstruse prose poems, Lorca sought to create a more objective poetry, devoid of private sentiment and the “planes of reality.” He joined his contemporaries in exalting Don Luis de Góngora, a 16th-century Spanish poet known for his dispassionate, densely metaphorical verse. Lorca and his fellow poets commemorated the tricentennial of Góngora’s death in 1927 and became known thereafter as the “Generation of 1927.” Lorca also sought to articulate in public lectures his own evolving aesthetic. Meanwhile, Lorca continued to mine the popular Spanish tradition in his plays La zapatera prodigiosa (written 1924, premiered 1930; The Shoemaker’s Prodigious Wife ), a classic farce, and El amor de don Perlimplín con Belisa en su jardín (written 1925, premiered 1933; The Love of Don Perlimplín with Belisa in Their Garden in Five Plays: Comedies and Tragi-Comedies , 1970), a “grotesque tragedy” partially drawn from an 18th-century Spanish comic strip. Both plays reveal themes common to Lorca’s work: the capriciousness of time, the destructive powers of love and death, the phantoms of identity, art, childhood, and sex. In 1928, with Dalí’s encouragement, Lorca publicly exhibited his drawings. A gifted draughtsman blessed with a startling visual imagination, Lorca produced hundreds of sketches in his lifetime. Romancero gitano. The publication in 1928 of Romancero gitano (written 1921–27; Gypsy Ballads ), a poetry sequence inspired by the traditional Spanish romance , or ballad, catapulted Lorca into the national spotlight. A lyrical evocation of the sensual world of the Andalusian Gypsy, the collection enthralled Spanish readers, many of whom mistook Lorca for a Gypsy. The book’s first edition sold out within a year. Throughout the work’s 18 ballads, Lorca combines lyrical and narrative modes in fresh ways to form what he described as a tragic “poem of Andalusia.” Formally, the poems embrace the conventions of medieval Spanish balladry: a nonstanzaic construction, in medias res openings, and abrupt endings. But in their wit, objectivity, and metaphorical novelty, they are brazenly contemporary. One of the collection’s most famous poems, “Ballad of the Spanish Civil Guard,” reads, in part: Los caballos negros son. Las herraduras son negras. Sobre las capas relucen manchas de tinta y de cera. Tienen, por eso no lloran, de plomo las calaveras. Con el alma de charol vienen por la carretera. Black are the horses, the horseshoes are black. Glistening on their capes are stains of ink and of wax. Their skulls—and this is why they do not cry —are cast in lead. They ride the roads with souls of patent leather. (“Ballad of the Spanish Civil Guard,” excerpt. Reprinted by permission of Farrar, Straus and Giroux, LLC, from Collected Poems by Federico García Lorca. Translated by Will Kirkland. Translation copyright © 1991 by Will Kirkland. Introduction and notes copyright © 1991 by Christopher Maurer. Spanish texts copyright © 1991 by Herederos de Federico García Lorca.) Lorca’s sudden fame destroyed his privacy. This, coupled with the demise of his friendship with Dalí, the collapse of another love affair, and a profound spiritual crisis, plunged Lorca into severe depression. He sought both release and newfound inspiration by visiting New York and Cuba in 1929–30. Federico García Lorca y la Generación del 27. En esta entrada voy a centrarme en el célebre escritor del siglo XX, Federico García Lorca. Sin embargo, antes de nada veo imprescindible introducir las características propias del grupo de escritores del que formaba parte, La Generación del 27. Se denomina Generación del 27 a un conjunto de escritores intelectuales españoles del siglo XX que se dio a conocer en un acto cultural llevado a cabo en el año 1927. Este acto fue la conmemoración del tercer centenario del fallecimiento de Luis de Góngora, el cual fue organizado por José María Romero Martínez en el Ateneo de Sevilla. Gracias a este acto, el grupo de escritores se identificaba con el poeta del Siglo de Oro, Góngora, ya que le consideraban un especialista del vanguardismo y dueño de una poesía muy característica e ingeniosa. Es decir, era para ellos símbolo de una poesía pura que todos deseaban, la cual, suponía el desprecio de las ideas propias del modernismo que ya consideraban como algo superado. Así pues, comenzaba una renovación del panorama literario español. Sin embargo, esta generación no estaba formada solo por escritores, sino que también había una serie de músicos, pintores y personajes relacionados con el mundo del cine que sirvieron como guía para esos escritores. Entre los escritores de esta generación, hubo una serie de temas que éstos introdujeron en la mayor parte de sus obras. En primer lugar la ciudad : tenían la idea de que el mundo estaba mejorando gracias a los inventos de la época. Eso lo plasmaban en ciudades como Nueva York o Moscú. En segundo lugar la naturaleza : volvieron a relacionarse con la naturaleza, rasgo propio de generaciones anteriores, aunque llevándolo a un ámbito más cotidiano. También fueron partícipes de recurrir al sentimiento de amor y erotismo que relacionaban directamente con el ser humano. Y por último, el tema más significativo, el compromiso : se comprometieron con los acontecimientos que estaban sucediendo entonces adoptando cada uno un punto de vista diferente. Por lo que respecta al estilo, como ya he dicho antes, intentaban guardar una similitud con la pureza estética de Góngora. Asimismo, mostraban un gran interés por la naturaleza humana y la unión de lo culto y popular, aunque especialmente se centraron en lo popular. El léxico que empleaban también era significativo pues se caracterizaba por un constante uso de metáforas y la libertad a la hora de escribir. Una vez explicado qué fue la Generación del 27, va a ser más sencillo entender la vida de Federico García Lorca y la relación que éste tiene con la Generación. García Lorca nació en Fuente Vaqueros (Granada) en 1898, coincidiendo con el desastre colonial. Durante sus estudios, decidió trasladarse a Madrid e ingresó en la Residencia de Estudiantes, donde vivió durante varios años. Aquí conoció a personajes de suma importancia en la cultura española como Salvador Dalí o Juan Ramón Jiménez, los cuales influyeron en su forma de pensar. Podemos ver, por lo tanto, que no solo escritores sino también pintores influyeron en él. Unos años más tarde, en 1929, se trasladó a Nueva York. Su estancia allí influyó mucho en él pues fue partícipe del crack de la bolsa y los efectos que éste tuvo. Éste es uno de los rasgos que se aprecian en la generación del 27. Se comprometía con los problemas de la época y escribía sobre ellos desde su punto de vista (Poeta en Nueva York). Además, el hecho de que en sus obras aparecieran este tipo de ciudades importantes, era otro rasgo típico de la Generación. Al volver a su tierra natal decidió crear un grupo teatral al que puso el nombre de “La Barraca”. Eran una serie de misiones pedagógicas cuyo su objetivo era aproximar las obras de teatro clásicas al pueblo que no se las podía permitir. Una vez estallada la Guerra Civil, en 1936, volvió a Granada con su familia, donde acabó siendo fusilado. A Federico le atormentaba la angustia, le resultaba muy difícil comprender el mundo y se sentía solo. Todo esto queda reflejado en sus obras, especialmente, en la últimas que escribió. De esta manera, los temas más característicos de la poesía de Lorca son la muerte y el amor como algo que causa frustración, lo cual, terminará normalmente en tragedia, en una muerte inevitable. Esto está relacionado con la tragedia rural característica de la Generación del 27. Asimismo, Lorca, al igual que los escritores del grupo, se corresponde con el vanguardismo con el objetivo de renovar completamente la literatura. Posiblemente, éste sea el rasgo que más le caracteriza con la Genereación. El estilo de Lorca a la hora de escribir es considerablemente similar al de su generación. Lo que caracteriza a Federico García Lorca, además de la unión entre lo culto y lo popular, es la creatividad que muestra en todas y cada una de sus obras. Uno de los aspectos más importantes es la simbología presente. Una simbología que está totalmente relacionada con la naturaleza, rasgo muy utilizado entre los escritores de la época. Entre otros, el símbolo que más aparece es la luna . Ésta representa la muerte, aunque también puede significar belleza, erotismo o esterilidad. Recordemos que el erotismo era uno de los temas que utilizaban con frecuencia estos escritores. Otro es el agua . Lorca la compara con la vida del ser humano. También cabe nombrar la sangre como símbolo de la vida y fecundidad, y su contrario, las hierbas o los metales (armas) , como símbolos de muerte. Por último está el símbolo del caballo. Éste está presente a lo largo de toda la obra y es un símbolo un tanto ambiguo, pues representa tanto la muerte como la vida. Aunque también puede referirse al erotismo masculino. Comprobamos que el amor humano y el erotismo (al igual que en la Generación del 27) cobran gran importancia en su estilo. La metáfora y el neopopularismo es otro de los pilares centrales de su estilo. Por lo que respecta al primero, hace uso de unas metáforas muy arriesgadas en las que la diferencia entre lo real y lo que él se imagina es despreciable. Asimismo, a veces utiliza la metáfora pura. Basándonos en el segundo pilar, la obra de Lorca está plagada de elementos tradicionales y canciones populares, especialmente haciendo referencia al folclore andaluz. Todo esto demuestra la increíble riqueza literaria que este escritor tenía. Tanto el uso de la metáfora como el acercamiento hacia lo popular se puede observar también en los escritores de su generación, como ya he mencionado antes. En conclusión, hemos podido observar la fuerte relación que tuvo Federico García Lorca con la Generación del 27. El siglo XX fue una época que necesitaba una clara renovación literaria. Una renovación que no solo García Lorca, sino todos y cada uno de los componentes de esta Generación consiguieron llevar a cabo.