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The Theatre of Lorca

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The Theatre of Lorca FREDERIC WOOD THEATR E There's only one waY to really appreciate the quality of our new color copies . You have to see one. The new Canon Color Lase r Copier will give you color copie s just like the original . Or not lik e the original at all. Because now you can reduce and enlarge from 50% to 400%. You can change colors. You ca n YERMA combine a color original with a black and white original t o compose a totally new image. The Canon Color Lase r Copier lets you copy from printe d materials, 35mm slides, nega- tives and 3-dimensional objects . Why not call or write for you r own free color copy? And the n canon you'll see for yourself. The comforting choice. Now available on campu s exclusively at MEDIA SERVICES 228-477 5 2206 East Mall, UBC Campu s University of British Columbi a "The play's the thing // Frederic Wood Theatr e presents Plays And we have a fine selectio n Playwriting Acting and Voice of plays and books on al l Theatre Production Theatre Design . Theatre Criticism aspects of the theatre Theatre History Theatre People Screenplays But the play's not all . Screenwriting YERMA Film Directing We also have books on films Film Production Film Business and filmmaking, Film Acting Film Analysis & Criticis m By Film People for filmgoer Cinematography Federico Garcia Lorc a Special Effects and filmmaker alike. Film/Video Guides Directed B y Whether your thing Catherine Caines is stage or silver screen , you'll find inspiration January 11-2 1 at the UBC Bookstore . 1989 The Frederic Wood Theatre Magazine A Seasonal Publication of University Productions Inc. BOOKSTORE For further information regarding thi s 6200 University Boulevard • 228-474 1 and upcoming publications call : Hours Mon Tues Thurs Fri 8.30 am-5.00 pm Wed 8.30 am-8 .30 pm Sat 9.30 am-5.00 pm (604) 732-7708 Computer Shop Mon-Fri 8.30 am-5.00 pm 1923 Law degree, University of Granada . 1927 Publication of Canciones (Songs) . Mariana Pineda produced with success in Barcelona and Madrid. Garcia Lorca's drawings attrac t attention at exhibition in Barcelona gallery . 192 8 Publication of Romancero gitano (Gypsy Ballads). 1929-30 Trip to the United States and Cuba ; gives lectures . Composition of poems of Poeta en Nueva York . 1930 On his return, La zapatera prodigiosa (The Shoemaker's Prodigious Wife) a success in Madrid . 193 1 Publication of Poema del cante jondo . 1932 Founder and director of the traveling university-theatre, La Barraca . 1933 Bodas de sangre (Blood Wedding) and Don Perlimplin performed in Madrid; to Argentina to lecture ; directed his own plays and the classic s Federico Garcia Lorca : in Buenos Aires . 1934 A Brief Chronology YERMA produced in Madrid. 1898, June 5th . 1935 Federico Garcia Lorca born at Fuentevaqueros, near Granada . The puppet play Retablillo de Don Cristobal produced in Madrid; Llanto por Ignacio Sanchez Mejias published; Dona Rosita la soltera produced 191 8 in Barcelona; finishes a book of sonnets and announces that L a Published his first book, Impresions y paisajes (prose) . destruccion de Sodoma is nearly finished. 1920 1936 Production of his first play, El maleficio de la mariposa in Madrid. Reads El publico for friends. August. When the victorious right-wing forces occupied Granada at the 192 1 beginning of the Spanish Civil War, Federico Garcia Lorca was Publication of Libro de poemas. executed and his body thrown into an unmarked grave. - Federico Garcia Lorca Song of the Dry Orange-Tree Poems Woodman. Cut for me the shades Free me from the martyrdo m of seeing myself without fruitage . Little song of the first desire Why was I born between mirrors ? Day reflects me In the green morning and the night copies me I wished to be a heart. in all its stars. A heart. I wish to live without seeing myself. And in the ripe afternoon And ants and downy seeds, I wished to be a nightingale . I will dream that these are my A nightingale. leaves and my birds . Soul, put on orange color. Woodman . Soul, put on orange color. Cut for me the shades. Free me from the martyrdo m In the living morning of seeing myself without fruitage . I wished to be I. A heart. The leave-taking And in the waning afternoo n If I die I wished to be my voice . leave the balcony open . A nightingale. The boy eats orange s Soul, put on orange color, From my balcony I see it . Soul, put on orange color! The reaper cuts the wheat . From my balcony I feel it . If I die, leave the balcony open! YERMA By Federico Garcia Lorca Translated by Directed By CAST James Graham-Lujan and Catherine Caine s In order of appearance Richard L. O'Connell Yerma Barbara Cormac k Set Design By Costume Design By Lighting Design By Juan Jason Smith Robert Gardiner Mara Gottler Kairiin Brigh t Maria Allison Sanders Victor Michael Cavers PRODUCTIO N Miranda, an old woman Susan C. Bertoia Technical Director Ian Pratt Isabela, a young girl Sheila Stowell Properties Sherry Milne Monserat, a young girl Mireille Chamber s Costume Supervisor Chelsea Moore Laundresses: Set Construction Don Griffiths, John Henrickson, Luisa Sandra Birkenhead Robert Mose r Pilar Sara Levine Cutter Jean Driscoll-Bel l Juanita Lisa Beley Isabela Mindy Forrester Stage Manager Nick Davis Rosa Trish Williams Assistant Stage Manager Nik von Schulmann Paula Jo Howitz Assistant Director Tracy Holmes Sisters-in-law : Assistant Scene Designer Blanka Jurenka Magdalena Kathleen Duborg Costume Design Assistant Jill Buckham Rosita Johane Meehan Scenic Artist Bill Rasmusse n Lighting Operator Erin Jarvis Conchita, a woman Eliza Green-Moncu r Sound Operator Tania Lazib Dolores Laura K. Burke Wardrobe Mistress Catherine King Carmen, a young woman Michelle Porter Make Up Nick Davis Men: Stage Crew Nancy Lyons, Glen Winter Jose Kurt Eby Costume Assistants . Heike Anderson, Nancy Canning, Colin Li m Estefan Tom Shulte Scene Painter J. Cricket Price Miguel Kelly Aisenstat Properties Assistant Heather Ken t Boys: Lighting Crew Glen Winter Marco John Stefaniu k Garcia Brian Irwin Original Music Tracy Holmes Celebrants: Soundscape Susan C. Bertoia Marcela Jo Howitz Movement coach Trish Williams Emanuela Trish Williams Guitarists. .Brian Irwin, Suzanne Buchan-Griede r Carmela Martina Smyt h Filipa Diana Stein Box Office Carol Fisher, Linda McRae, Jason Smith Consuela I aara Sadiq House Manager Jill Buckham Catalana Suzanne Buchan-Grieder Business Manager Marjorie Fordham Production Robert Eberle Antonio, the Male Mask Phil Barnett Miguela, the Female Mask Michele Melland Acknowledgements: Act I Scene I - Anytime Regent Heating Ltd. Act I Scene II - One year late r YERMA Act II Scene I - Two years later is produced by special arrangement with Act II Scene II - One month later Samuel French (Canada) Ltd. There will be one 15 minute intermission . The Theatre of Lorca Lorca (with Alberti) is the one who best represents the union of the popular spirit, the cultivated verbal ostentation of Gongora and th e experimentalism of the avant-garde; who distributed his energy equally between poetry and theatre, and who had the most unifie d vision of art (he was a musician and admirer of Falla, a painter and close friend of Dali). From this complexity comes the fascination hi s works arouse in readers and spectators, and the difficulty of Lorca is an original creator, if by that is understood to hav e defining them in a simple way. imagined a world and a mode of expression which are inimitable . In Spanish literature he occupies his own particular place, and no on e Even at the risk of falling into such danger, we can point out some has known how, or been able, to follow him. He may well be an of the characteristics of Lorca's work. inspiration for other artists (the filmlballet Blood Wedding by Carlos Saura is an example), but his works in their entirety elude possibl e In the first place, there is his tragic vision, which is manifested in imitators and create difficulties for criticism . the opposition between the most profound impulses of the individua l (we could speak of instincts) and the circumstances that prevent their Lorca is a member of the generation of 1927, a group of writers - fulfillment. Synthesizing even more: the opposition between lov e Alberti, Cernuda, Aleixandre, Guillen, Alonso, among others - wh o and death: love, always charged with a strong sexual connotation, as gave Spanish poetry a brilliance perhaps unequaled since th e an affirmation of that which is most vital, free, and regenerative, an d seventeenth century. The group appeared at a privileged moment : death as the fatal destiny of love, which in Lorca 's theatre is before them, the great poets of the previous generation - Unamuno , exteriorized progressively until it adopts a social face . Machado, Valle Inclan, Juan Ramon Jimenez - , who are today the indisputable classics of Spanish modernism, had already paved th e Another aspect is the dramatism that impregnates all of his work an d way; ahead of them, the group had the european avant-garde , blurs any absolute differentiation between poetry and theatre. His particularly surrealism; and uniting the two, a tradition that for them poetry has an indisputable dramatic dimension : one has only to read was essential: the hermetic baroque style of Gongora, the formal an d those condensed dramas which are the poems of the Romancero intellectual precision of Quevedo, and the popular dimension of th e Gitano, or the implied dialogistic structure of the Llanto por theatre of Lope de Vega (Lorca organized a travelling theatre group , Ignacio Sanchez Mejias (Ohana has composed a cantata on this "la Barraca", and brought to the villages the works of the classics) .
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