The Theatre of Lorca
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A Critical Bibliography of the Theatre of Federico García Lorca, 1940-1970
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1973 A critical bibliography of the theatre of Federico García Lorca, 1940-1970. Dennis A. Klein University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Klein, Dennis A., "A critical bibliography of the theatre of Federico García Lorca, 1940-1970." (1973). Doctoral Dissertations 1896 - February 2014. 2686. https://scholarworks.umass.edu/dissertations_1/2686 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A CRITICAL BIBLIOGRAPHY OF THE THEATRE OF FEDERICO GARCIA LORCA: 19^0 THROUGH 1970 A Dissertation Presented By Dennis A. Klein Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY June 1973 Hispanic Languages and Literatures (C) Dennis A. Klein f^73 All Rights Reserved A CRITICAL BIBLIOGRAPHY OF THE THEATRE OF FEDERICO GARCIA LORCA; 19^ THROUGH 1970 A Dissertation By Dennis A. Klein Approved as to style and content by: Professor Sumner •rofessor Harold L. Boudreau June 1973 Iv For My Parents And for Jordan V acknowledgments Since it is impossible to acknowledge all of the faculty and staff members, relatives and friends who have seen me through my years of graduate studies and through this dissertation, I shall limit myself to five faculty members of the University of Massachu- setts: Professor Blanche DePuy and Professor David Lenson for their time and suggestions; Professor Sumner M. -
Salvador Dalí
Salvador Dalí Contents Introduction to Dalí ....................................................................................................................................... 2 Diminutive Biography ................................................................................................................................... 2 Chronology of Select Works & Contributions ............................................................................................... 2 Theatre ...................................................................................................................................................... 3 Film ............................................................................................................................................................ 3 Painting ..................................................................................................................................................... 3 Writing ...................................................................................................................................................... 5 Photography .............................................................................................................................................. 5 Fashion ...................................................................................................................................................... 6 Architecture ............................................................................................................................................. -
Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-19-2017 In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962 Jessica M. Bordelon University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Bordelon, Jessica M., "In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962" (2017). University of New Orleans Theses and Dissertations. 2366. https://scholarworks.uno.edu/td/2366 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. In an Unending Desert of Cement and Skyscrapers: Lydia Cabrera, Revolutionary Cuba and Transnational Exile, 1960-1962 A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in History International & Global by Jessica M. Bordelon BS. -
Press Release Dalí. All of the Poetic Suggestions and All of the Plastic
Dalí. All of the poetic suggestions and all of the plastic possibilities DATES: April 27 – September 2, 2013 PLACE: Museo Nacional Centro de Arte Reina Sofía (Madrid) Sabatini Building. 3rd floor. ORGANIZED BY: Museo Reina Sofía and Centre Pompidou, Paris, in collaboration with the Salvador Dalí Museum Saint Petersburg (Florida). With the special collaboration of the Fundació Gala-Salvador Dalí, Figueres. CHIEF CURATOR: Jean-Hubert Martin CURATORS: Montse Aguer (exhibition at the Museo Reina Sofía, Madrid), Jean-Michel Bouhours and Thierry Dufrêne COORDINATOR: Aurora Rabanal The Museo Reina Sofía presents a major exhibition dedicated to Salvador Dalí, one of the most comprehensive shows yet held on the artist from Ampurdán. Gathered together on this unique occasion are more than 200 works from leading institutions, private collections, and the three principal repositories of Salvador Dalí’s work, the Fundació Gala-Salvador Dalí (Figueres), the Salvador Dalí Museum of St. Petersburg (Florida), and the Museo Reina Sofía (Madrid), which in this way are joining forces to show the public the best of their collections. The exhibition, a great success with the public when shown recently at the Centre Pompidou in Paris, aims to revalue Dalí as a thinker, writer and creator of a peculiar vision of the world. One exceptional feature is the presence of loans from leading institutions like the MoMA (New York), which is making available the significant work The Persistence of Memory (1931); the Philadelphia Museum of Art, which is lending Soft Construction with Boiled Beans (Premonition of Civil War) (1936); the Tate Modern, whose contribution is Metamorphosis of Narcissus (1937); and the Musées Royaux des Beaux-Arts, Belgium, the lender of The Temptation of St Anthony (1946). -
The House of Bernarda Alba Study Guide
The House of Bernarda Alba Federico García Lorca Study Guide 1 Prepared by The Classic Theatre of San Antonio October, 2011 Synopsis of the Play The House of Bernarda Alba drama of women in the villages of Spain The play was completed in 1936, two months before the death of the author. The action takes place in the home of Bernarda Alba after the funeral of her second husband. Bernarda has recently announced to her five daughters that there will be a mourning period of eight years, during which they must stay in the house and do needlework. Her daughters, between the ages of 21 and 40, have spent their lives being controlled by Bernarda Alba and are prohibited from any relationships. Because of this latest announcement of the mourning period, tensions are very high at the beginning of the play. The first scene opens to a kitchen maid and Bernarda's servant discussing the recent funeral and the difficulty of living under the roof of Bernarda Alba. Next, a group of mourners passes through as the daughters and Bernarda enter. Bernarda accuses Angustias, the oldest daughter, of listening to the conversation of the men outside, something that is strictly forbidden. Angustias, the only daughter of Bernarda's first husband, has inherited money from her father. She has also inherited an equal share of the money from the death of Bernarda's second husband, making her the only sister with significant wealth. This newfound wealth has attracted attention and Angustias intends to become engaged to Pepe el Romano. Pepe is fourteen years younger than Angustias and the most handsome man in town. -
Dalí's Religious Models: the Iconography of Martyrdom and Its Contemplation
Dalí's Religious Models: the Iconography of Martyrdom and its Contemplation © Miguel Escribano 2012 A thesis submitted for the degree of PhD Department of Art History and Theory University of Essex February 2012 ii Summary This thesis investigates Dalí’s adoption of religious iconography to help represent themes that he had conceptualised through Surrealism, psychoanalysis and other thought systems. His selective use of sources was closely bound to his life circumstances, and I integrate biographical details in my analysis of his paintings. I identify unexpected sources of Dalí's images, and demonstrate how alert he was to the psychological motivations of traditional art. I find he made especial use of the iconography of martyrdom – and the perceptual and cognitive mechanics of the contemplation of death – that foreground the problem of the sexual and mortal self. Part I examines the period 1925-7, when Dalí developed an aesthetic outlook in dialogue with Lorca, formulated in his text, 'Sant Sebastià'. Representations of Sebastian and other martyr saints provided patterns for Dalí's exposition of the generative and degenerating self. In three chapters, based on three paintings, I plot the shift in Dalí's focus from the surface of the physical body – wilfully resistant to emotional engagement, and with classical statuary as a model – to its problematic interior, vulnerable to forces of desire and corruption. This section shows how Dalí's engagement with religious art paradoxically brought him into alignment with Surrealism. In Part II, I contend that many of the familiar images of Dalí’s Surrealist period – in which he considered the self as a fundamentally psychic rather than physical entity – can be traced to the iconography of contemplative saints, particularly Jerome. -
Final Copy 2012 01 23 Boyd
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Boyd, Jade Title: The Experience of Colour in the Theatre of Federico García Lorca General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. The Experience of Colour in the Theatre of Federico García Lorca Jade Leanne Jessie Boyd “A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in Hispanic, Portuguese, and Latin American Studies in the Faculty of Arts, School of Modern Languages, September 2019.” Word Count: 79,664 Abstract Colour in the theatre of Federico García Lorca (1898-1936) is a powerful and equivocal force which is centred on his aesthetic concerns and on the audience experience. -
Baroque Lorca: an Archaist Playwright for the New Stage Defines Federico García Lorca’S Trajectory in the Theater As a Lifelong Search for an Audience
Baroque Lorca Baroque Lorca: An Archaist Playwright for the New Stage defines Federico García Lorca’s trajectory in the theater as a lifelong search for an audience. It studies a wide range of dramatic writings that Lorca created for the theater, in direct response to the conditions of his con- temporary industry, and situates the theory and praxis of his theatrical reform in dialogue with other modernist renovators of the stage. This book makes special emphasis on how Lorca engaged with the tradi- tion of Spanish Baroque, in particular with Cervantes and Calderón, to break away from the conventions of the illusionist stage. The five chapters of the book analyze Lorca’s different attempts to change the dynamics of the Spanish stage from 1920 to his assassination in 1936: His initial incursions in the arenas of symbolist and historical drama (The Butterfly’s Evil Spell, Mariana Pineda); his interest in puppetry (The Billy-Club Puppets and In the Frame of Don Cristóbal) and the two ‘human’ farces The Shoemaker’s Prodigious Wife and The Love of Don Perlimplín and Belisa in the Garden; the central piece in his project of ‘impossible’ theater (The Public); his most explicitly political play, one that takes the violence to the spectators’ seats (The Dream of Life) and his three plays adopting, an altering, the contemporary formula of ‘rural drama’ (Blood Wedding, Yerma and The House of Bernarda Alba). Andrés Pérez-Simón is an Associate Professor of Spanish at the Univer- sity of Cincinnati. He has published essays on world literature, drama, film and literary theory. -
Spain, a Global History
From the late fifteenth to the nineteenth centu- LUIS FRANCISCO MARTÍNEZ ries, the Hispanic Monarchy was one of the Luis Francisco Martínez Montes MONTES (Madrid, 1968) is a diplomat, largest and most diverse political communities known in history. At its apogee, it stretched from writer and a constant traveller along the the Castilian plateau to the high peaks of the Silk Roads of knowledge. Director and Andes; from the cosmopolitan cities of Seville, SPAIN, co- founder of The Global Square Maga- Naples, or Mexico City to Santa Fe and San Fran- zine. He is the author of more than forty cisco; from Brussels to Buenos Aires and from A GLOBAL HISTORY essays and articles on geopolitics, history Milan to Manila. During those centuries, Spain Luis Francisco Martínez Montes Luis Francisco and comparative cultural issues. left its imprint across vast continents and distant oceans contributing in no minor way to the emer- gence of our globalised era. This was true not only in an economic sense—the Hispano-Ameri- can silver peso transported across the Atlantic and the Pacific by the Spanish fleets was arguably the first global currency, thus facilitating the creation of a world economic system—but intellectually and artistically as well. The most extraordinary cultural exchanges took place in practically every corner of the Hispanic world, no matter how distant from the metropolis. At various times a descendant of the Aztec nobility was translating a Baroque play into Nahuatl to the delight of an Amerindian and mixed audience in the market of Tlatelolco; -
Deseo, Muerte Y Tragedia En Viaje a La Luna De Federico García Lorca
CAPÍTULO 3 Deseo, muerte y tragedia en Viaje a la luna de Federico García Lorca Luis Pascual Cordero Sánchez Introducción La modernización de la tragedia fue uno de los objetivos entre algunos de los autores teatrales de la Edad de Plata. En concreto, Ramón del Valle-Inclán tra- tó de adaptar a su presente los patrones trágicos, teniendo en Federico García Lorca un gran continuador de esta tendencia renovadora, si bien, a diferencia de Valle, buscando conjugar el éxito tanto de la crítica cultural minoritaria como la del gran público (Dougherty 78). Aunque el poeta de Fuentevaque- ros, dentro de su producción canónica de madurez, solo tituló como tragedias dos de sus obras, Bodas de sangre y Yerma, gran parte del corpus literario lorquiano está jalonado por un espíritu trágico o, en palabras de Doménech, la obra de Lorca se enmarca dentro una “cosmovisión trágica” (65). Por ello, no debe extrañar que el propio autor en una entrevista datada en 1934 haga una rotunda invitación: “Hay que volver a la tragedia” (“Federico” 646). La crítica se ha encargado de ampliar la nómina de obras que podrían englobarse dentro de lo trágico, atendiendo precisamente a la mentada cosmo- visión trágica. Doménech y Feal, por citar en exclusiva a dos de los autores que han abordado el tema de la tragedia en Lorca, analizan como trágicas Mariana Pineda, La zapatera prodigiosa, Amor de don Perlimplín con Belisa en su jardín, El público, Así que pasen cinco años y Doña Rosita la soltera o el lenguaje de las fl ores. Queda fuera, quizá por la asociación directa -
Federico García Lorca - Poems
Classic Poetry Series Federico García Lorca - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Federico García Lorca(5 June 1898 – 19 August 1936) Federico del Sagrado Corazón de Jesús García Lorca was a Spanish poet, dramatist and theatre director. García Lorca achieved international recognition as an emblematic member of the Generation of '27. He may have been shot by anti- communist forces during the Spanish Civil War In 2008, a Spanish judge opened an investigation into Lorca's death. The Garcia Lorca family eventually dropped objections to the excavation of a potential gravesite near Alfacar. However, no human remains were found. <b>Life and career</b> <b>Early years</b> García Lorca was born on 5 June 1898, in Fuente Vaqueros, a small town a few miles west of Granada, southern father, Federico García Rodríguez, was a landowner with a farm in the fertile vega surrounding Granada and a comfortable villa in the heart of the city. García Rodríguez saw his fortunes rise with a boom in the sugar industry. García Lorca's mother, Vicenta Lorca Romero, was a teacher and gifted pianist. In 1909, when the boy was 11, his family moved to the city of Granada. For the rest of his life, he maintained the importance of living close to the natural world, praising his upbringing in the country. In 1915, after graduating from secondary school, García Lorca attended Sacred Heart University. During this time his studies included law, literature and composition. Throughout his adolescence he felt a deeper affinity for theatre and music than literature, training fully as a classical pianist, his first artistic inspirations arising from the scores of Debussy, Chopin and Beethoven. -
Carmen Cortés Compañía De Danza Flamenca
CARMEN CORTÉS COMPAÑÍA DE DANZA FLAMENCA LOR CA’S WO MEN LORCA’S WOMEN Women move the pages of Lorca’s theatre. The men are seated in the margins, or walking in between lines. The women blow the pages with the breeze of their breaths so that they turn one after the other. It is the women who with the winds of their passions allow the written pages to take off and fly and come to life. And from their hot-blooded veins flows the red ink that fills the poet’s most inspired syllables with truth. Lorca’s women move, and in their feet lays the geography of enjoyment and pain. Their shoes are an atlas that contains continents of emotion. The footprints of their steps are chronicles of voyages to the soul. Word made muscle dances, spelling the joints of life. Vowels and consonants look at each other in silence and suddenly begin to dance, in unison, the vowels and consonants dance, and they combine in their choreography, and united they form the words of these universal women. Lorca’s Women / Mujeres de Lorca. Tomás Afán LORCA’S WOMEN Lorca’s Women is a recreation of the most important female characters from Federico García Lorca’s body of work. These characters oscillate between acceptance of their destiny and rebellion. García Lorca condenses all of the emotion of a woman’s life into her impulses, dreams and struggles. He explores themes rooted in the most intimate fibers of the female soul. And time and death are inseparable presences that also stir unrest.