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Imimi- P H Eb a , ; ■ A translation and transposition into an acting edition of Federico García Lorca's Mariana Pineda Item Type text; Thesis-Reproduction (electronic) Authors López, Victoria Haro, 1932- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 13:30:18 Link to Item http://hdl.handle.net/10150/318913 A IRMSLMTON MD TRANSPOSITION INTO M ACTING EDITION .. ;of m E iic o - ^GikRoiA LOicm s, imimi- p h eb a , ; ■ , . ■■ by , ' . : , ■ ■'A; -• v1 ■ - Victoria Haro Lopez ' .V ' A. Thesis Submitted to the Faculty of the . BEPAETMEaST OF D R A M 3h Partial Fulfillment of the Requirements .;v /' For the Degree of ''Mr' MASTER OF -ARTS la the Graduate College v MnmSITI OF ARIZONA ^ ' : 19 6:1 To Dro Robert R» Anderson for his understanding of the Spanish lyric soul. STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to bor­ rowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: G/ z j '/S z - PETER R. MARRONEY Date Head of the Department of Drama / / / s ' / S 2- DR. ROBERT ANDERSON Date Department of Modem Languages ACKNOlLEDGMEMfS: . I extend my gratitude and appreciation to John G„ Johnson, Dorothy J6 Strickland Johnson, James Weston, and Mary.Dunham for .their concern, encouragment, inspiration and preparation of the manuscripts. TABLE OF CONTENTS ■ ' . INTRCODIJC.TiON. @ » « o © © » © © © © © © © © © © © © © © © © © © © @ ^ vx BAET I j MARIANA PINEDA BX FEDERICO GARCIA LORCA 3. TRANSLATED. BY VICTORIA HARO LdiEZ Act X . © •« © ©.. © © • '©, ©' © © © © XtX to X—li^ Act XI © : a - © o © © © • © © e a © 2-1 tO 2-f?i ■ Act III- » » » > a a » » o a « © 3-1 to '3-36 PART .IIs HISTORICAL BACKGROUND - ■ History of the Liberal Movement in Spain « © © . © © . © © © $ 1 ' Mariana Pineda as an Historical Character © © . © © © © . © © „ 7 APPENDIX, Is SCENERY AND PROPERTIES © . », .© .« © © © . *. © © ©. © © 110 APPENDIX II s COSTUMES © © . ;© © © © © >• i © © Y © © © © © © © . © « 12 APPENDIX Ills CHARACTER.DESCRIPTIONS © ©:© ©.. © © © © © © © © 16 BIBLIOGRAPHY s ' ' • ;- Works Cxted © © © © © © © © © © © © © © © © © © © © © © © © © i,8 Works Gonsulted © © © © .© © © © © © * © .© © © © .© © © © © © © 1^ v Mariana Pineda by Federico Garcia I.orca is a poetical dramatic gation of a tEagie moment in the struggle of liberal regime in Spain© Federico Garcia lorca describes her as a heroine asking a poet for justicee She had been surrounded by trumpets and she was a lyre 6 She had been compared to^ Judith and she was peally seeking in the shadows5 * the hand of Juliet her sister' ■ ■ ' ■ : -v On this quotations the author bases the translation and research of the epoch and figure of one of 'the innocent,persons who died at the hand of tyrannical Ferdinand ¥11 of Spain© .■ The actual historical account is essential in understanding the drama itself © 1 The Bourbon period in Spaiiish history of Charles I? and ; Ferdinand ¥11 is briefly considered* The facts and situations which would give the director a deeper understanding of the epoch and the ; reasons for the desperate struggle for liberty led by Spanish- gentility# such as the decadence of the Bourbon line® the environment of the mbn« arch under which the beginning of the liberal movement took pla.ee> and - the horror of the treachery with which Ferdinand ¥11 ruled© — The author-will also present an account of Mariana Pineda as an historical characters making: special note of the ^poetic license® Garcia Lorca took in changing the actual relationships0 . Federico Garcia.Lbreas Mariana Pineda s ed© R© Mo Nadal and Janet Hi Perry (Londons 1 9 5 7 p® 2 (Preface)© . Suggestions for the production of this play will be presented® Ineluded in these ,suggestions will be notes on costuming^ scenerys properties g and character descriptions0 The author proposes this material to b® helpful in the production of, the drama9 Mariana Pineda by Federico Garcia lorea& • MARIANA PIWSDA A POPUMR BALLAD : : IN : ■ ' : . fHEEB ACTS 7: ' ' \ '- .f. / ^ ■ ' V ; ' ' ■■ b y ; 7 7 \ FEDERICO GARCIA LORCA A Translation by Victoria Haro Lopez Mariana Pineda was first presented in the Teatr.o Fontalba in Madrid on Octobers 1927o It was produced by Salvador Dalxe It was dedicated to the great actress Margarita Xirgu who played Mariana= CAST OF OHABACTERS Mariana Pineda Sor Carmen Pedrosa Clavela Novice 1 Alegrito Dona Angustias Novice 2 Conspirator 1 Ampara Nun Conspirator 2 Lucia Don Pedro Conspirator 3 Nino Fernando Conspirator it Nina . Childrens nuns Woman of the Candlestick A Judge or Magistrate MRIAM PINEDA A dramng rooim in Mariana9s house o ' ::;% /a#iinGon ;.:^ The year8 18504 Granada» Spain„ APT I I r ' the ^ i n drawing room of Harlana1 s house» Winter nights I83I 0 ! ' v . AST-III ' ' : . ■ ' : '■ :■ ■ . : - ' The Oonvent of Santa Maria %ipeiaoa« Bays 1 8 3 1 » toaost;:'dnske ' • MARIAM PINEDA A POPULAR BALLAD IN THREE . ; ' ■, 'V / ACTS / '■ : ' • ". ' . FEDERICO GARCIA LORCA / ’ PROLOGUE BACKDROP CURTAIN REPRESENTING THE EXTINCT ARABIAN ARCH OF THE CUCHARAS AND THE PERSPECTIVE OF THE COURTYARD OF BIBARRAMBLA IN GRANADA/FRAMED IN A.IELLOIISH MARGIN/ LIKE AN OLD PRINT, ILLUMINATED IN BLUE, GREEN/ YELLOW, ROSE AND SKY BLUE, ON A BACKGROUND OF DARK WALLS. ONE OF THE HOUSES THAT WE SEE WILL 'BE PAINTED WITH' SEA MOTIFS AND WREATHS OF FRUIT. MOONLIGHT. UPSTAGE, • THE CHILDREN WILL SING THE POPULAR BALLAD WITH- - ACCOMPANIMENT. , ; . 0 sad day in Granada, to make the ' stones weep, seeing Marianita dying pn the scaffold because she .refused to betray I ' Marianita seated in her room did not stop to consider£ "What if Pedrosa saw me embroidering the flag of liberty.11 (FAS AWAY) 0, sad day in Granada the bells ring and ring! (WOMAH LOOKS THROUGH A WINDOW WITH A LIGHTED CANDLESTICK) (THE SONG CEASES) ■ WOMAN. Child, don’t you hear me? CHILD. (FROM AFAR) I'm coming! (A SMALL GIRL APPEARS FROM UNDER THE ARCH, DRESSED IN THE FASHION OF THE YEAR 1850, MHO SINGS:) As a lily the lily was cut, As a rose the flower was cut, As a lily they cut the lily. Her soul remained more beautiful. (SLOWLY SHE ENTERS THE HOUSE. UPSTAGE, THE CHORUS CONTINUES) 0, sad day in Granada, to make the stones weep! SLOW CURTAIN ACT I . SOEEE H B B J E ’ S HOUSE-. IHITE WALLS. -IN THE BACKGROUND THERE ARE SMALL ' : BL4CK^BALCpNlES., vONVA, TABLE THERE -IS A -CRYSTAL PRUlTBOWL FILLED WITH ' QUINCE. -HANGHG TH ® - :SE CEILING IS;EHE^SAME^KIND'OE ERUITL ON THE- ' »COHODA« THERE ARE LARGE BOUQUETS OF SILK ROSES. IT IS AN AFTERNOON : IN ; AUTUMN. AS THE CURTAIN RISES. ,DONA 'ANGUSTIAS,LFOSTER MOTHER .OF. .: fMAi^NA IS . SEATED ^ ^ . SBE^ IN’DARK - COLORS ..- S ' . A COLD, RESERVED AIR ,ABOUT HER, BUT SHE IS' MATERNAL. NEVERTHELESS . , . ISABEL, THE CARNATION . (CLAVELA), IS DRESSED FASHIONABLI* - SHE ;IS;;-THIRTI“ ' ’ SEVEN. TEARS. OLD. ; • ' _ " ■ " \ '; Y'-I - : s c a r x :....- , . - , . ; - ; ' - . ;. c L m M . ; -. : > Where Is :she? ; , / " - -. ' - : - - ANGUSTIAS. ■ . She is embroidering and embroidering . I have seen her.through.the keyhole. The red thread between her fingers. resembled a knife wound in the air. I CLAVELA. • I.-have. a terrible' fear 1’.'. • ANGUSTIAS. : Don’t/say it! ' • , - Is it kntim? :: v: ■ :: . • ; "y . Of; course nq.t! In Granada, it would . .'• not be known. :;'75 ’' ;V:, . - CLAVELA. - ■ ' ibiy:does•she embroider on that flag? ' / , .(BITS :bl';A GlMlRi "EIGHT)^ , -, 'AN(MSTIAS>";, V'b.' . She says that her liberal friends require It of her. ft Ay :::vy; :: ■ ' (1SITH • PURPOSE) f .■ ^ Don .Pedro above, alli q.nd. fot them :: ' A v V tt'// she exposes herself. y : :b:(5bEEG#]%);; to' fhat which 1 do not want to :think about. ; ' .■ ■'- '- . 'c L & m j L * v-/;,;.;v:V... : : :';y If I thought like our women■ of old, I would-call her. y : : ; ;y^:-- y-K'f: y ■ : : ■ - . bewitched.' , ':; -;.y- ■ , ' - "% - - 'y y y y . ' V'v-y yy. :'v y y y -y;y^ lyi-yy y;.b y'; 'y y vy/y;;"y ::' C3HWA.,; r. ;:y 'yyy,-. V;;'ypyo/';:'"'''V (QUICKLY) ^ . Eeally'f ;Vy ;V ;1"'htv' 1-3 (v a g u e l t ) . Iho knowsf ; . • ' ■. • . '■ - ' ' ■ : (LiEimi.) .: ; Her smile has beeome almost pale, like an open flower on a piece of lace* ’ (RISES» GROSSES TO WBIDOW) She should abandon those lntrigu,es«' '(SHE SPEAKS WITH STRONG AID'DEFMITE COTOCfIOI9 TURNS) What should she eare of outside things? If she embroiders9 let her embroidef -dresses. ' for her chiid9 when she is grown., ; ’ ; If the king is not a good king9 let it be? Wosiem should not be bbthered with that, .. • ■ " : . R . CLATELA» ' : . • • Lasffc night she did. not sleep. ' . ; . AIGUSTIAS. She is not herself I Yesterday afternoon. ,v:." (TURNS TO CLATOLA) / Bo you recall«,e » - ■ . • . (A DOORBELL SINGS HAPPILY) The daughters of Chancellor® Be silent. ( C M ¥ E M miTES EAP1DLY. AHGUSIIAS GOES TO THE DOOR ON THE RIGHT AND GALES) ., . ': v : Marianitas someone is looking for youo Come» ; (THE; DAUGHTERS OF THE OHANCEELOR ENTER LAUGHiNG. 'THEY ARE 'DRESSED IN WIDE RUFFLED SKIRTS, THEIR ; : HAIR IS : D0NE 3$ THE FASHION'OF ‘ THE, DAY . THEY WEAR . /MANTILLAS AND A RED CARNATION AT EACH EAR.
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