Böcker av Federico Garcia Lorca

As he wrote La casa de Bernarda Alba, Federico Garcia Lorca explained: "drama is poetry that escapes the book and becomes human. And as it is being made it talks and shouts, cries and despairs".Lorca saw in theatre the most perfect means to reach people's souls, more immediate and effective than poetry, and he kindled this possibility even amidst difficult times.Lorca is, mainly, a poet, and as so his plays possess great visual as well as linguistic virtue.The last of the rural tragedies -Bernarda Alba was preceded by Bodas de sangre (1933) and Yerma (1934)- was finished in June 1936. It was meant to open in Buenos Aires in October, played by the Margarita Xirgu company, but Lorca was murdered in July. War events postponed the opening until 1945, but in Spain the play would stay banned until 1964.The plot is deceivingly simple: Bernarda Alba exerts a tyrant control upon her daughters, who live as prisoners within her house walls.The conflict is deprivation of freedom, blown up to tragic proportions by the death of Bernarda Alba's second husband and her decision to impose eight years of strict mourning. But this mourning goes far beyond the usual black clothing: during the following eight years no one will leave the house, and no man will enter.The reclusion is the results of them being women of a certain social position.The authority/freedom conflict is visible through the submission of the feminine condition -the subtitle Drama of women in the towns of Spain highlights this-. Freedom is stifled by the prejudices of a social class enslaved by appearance and tortured afraid by gossip.Lorca's theatrical experience is highly noticeable in his way of highlighting the conflict without superfluous details: lighting, costumes, text and language, and the actresses' movements, everything is measured to the last millimeter.And the closing words of the main character become a remarkable premonition of what would shroud Spain during many following years. "And I do not want sobbing. Death must be stared in her face". "¡Silence, silence I have said! ¡Silence!Professor Borja Rodriguez-Gutierrez adds to this edition a clear introductory essay that dismantles Garcia Lorca's clockwork mechanism, while introducing annotations that allow the reader to fully grasp the meaning of this influential cornerstone of Hispanic letters.

Written at the height of Lorca's theatrical powers, these three tradgedies display his innovative mix of Spanish popular tradition and modern dramtic technique. They focus on the lives of passionate individuals, particularly women, trapped by the social conventions of peasant communitie

Blood Wedding by Federico Garcia Lorca is a classic of Spanish literature, the tragedy of a woman loved by two men. Lorca has a searing realization of the power of desire. Brendan Kennelly rises to the challenge of how to convey this in an English translation, in language at once soaring and accurate, wild and precise. His version of Blood Wedding reveals the mysterious, intricate, passionate, and truly astonishing nature of Lorca's masterpiece.

This selection has been the introduction for generations of American readers to the mesmerizing poems of Federico Garcia Lorca (1898-1937). Lorca is admired the world over for the lyricism, immediacy and clarity of his poetry, as well as for his ability to encompass techniques of the symbolist movement with deeper psychological shadings. Most of all, Lorca's poems are admired for their beauty. Undercurrents of his major influences - Spanish folk traditions of his native Andalusia and Granada, gypsy ballads, and surrealists Salvador Dali and Luis Buñuel - stream throughout Lorca's work.

Federico García Lorca's position as one of the few geniuses of the modern theatre was firmly established in the English-speaking world with his Three Tragedies. Here, with an introduction by the dramatist's brother, Francisco García Lorca, are five of his "comedies," in the authorized translations, extensively revised to reflect recent Lorca scholarship and to convey the sparkle, freshness, and magic of the original Spanish. The Shoemaker's Prodigious Wife tells of a young beauty married to an old man, a theme that often concerned Lorca. The resolution for the earnest shoemaker, who leaves home and comes back disguised as a puppeteer, is lighthearted, but there is underlying pathos. The Love of Don Perlimplin is again about a girl who weds someone much older, this time a bookish, 18th-century gentleman, who seeks an original but sardonic way out of the situation. According to Lorca himself, "Dona Rosita is the outer gentleness and inner scorching of a girl in Granada who, little by little, turns into that grotesque and moving thing - an old maid in Spain."

Federico Garcia Lorca called The Public "the best thing I've written for the theater." Yet, he acknowledged, "this is for the theater years from now." Now, half a century later, The Public and another of Lorca's most daring works, Play without a Title, are available in English translation for the first time. Surrealism, folk theater, poetry, vivid costumes, black humor--in the The Public, dramatic traditions are ransacked to develop themes as timely in the 1980s as they were taboo when Lorca was writing: if Romeo were a man of thirty and Juliet a boy of fifteen, would their passion be any less authentic? No, says a young observer of the play within the play, "I who climb the mountain twice each day and, when I finish studying, tend an enormous herd of bulls that I've got to struggle with and overpower at every instant, I don't have time to think about whether Juliet's a man or a woman or a child, but only to observe that I like her with such a joyous desire." In both The Public and Play without a Title, the player himself is of as much consequence as the role he plays. The fierce, stark Play without a Title, with its cast of Author, Prompter, Stagehand in the wings, and hecklers in the gallery, clearly heralds developments in today's avant-garde theater. It also reflects the violence of the times in which it was written. As Carlos Bauer notes in his introduction, neither of the plays in this volume was complete in 1936, when Lorca was assassinated by Franco's forces. Still, both have here the unity and grace of finished tours de force.

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 edition includes a full commmenatry and notes.

Lorca's tragic tale of the destruction of Bernarda Alba's family following the death of her husband. This Student Edition includes a commentary, chronology, notes and bibliography.

Translation by Jo Clifford.

Features a poem expressing tortured feelings of alienation and dislocation. This book also offers translations of the poet's letters as well as a lecture he gave about this work. It is illustrated with archive photographs.

One of Spain's greatest and most well-loved poets, Lorca is admired for the emotional intensity and dark brilliance of his work. From the playful "Suites" to his dark vision of urban life, "Poet in New York", his range was remarkable. This title provides versions by various poets and translators, drawing on books of poems published by Lorca.

After her husband's death, Bernarda Alba forces her five daughters into eight years of strict mourning. The appearance of Pepe El Romano, a man who wishes to marry the eldest daughter, Angustias, unleashes a series of tragic events.

Bodas de sangre is arguably the best-known work by the most celebrated of all twentieth-century Spanish writers. A passionate story of family feud and tragic elopement is played out in the setting of a poor country village, building up to a dramatic ending full of the intensely poetic symbolism characteristic of Lorca. -- .

Tells the story of a peasant bride who elopes on the day of her wedding.

When Bernarda's husband dies, she locks all the doors and windows. She tells her grown-up daughters to sew and be silent. But locks can't hold back the growing tide of desire. This play by Lorca, the last he wrote before his assassination, explores the darkness at the heart of repression.

In "Yerma", the second of his trilogy of rural dramas, Lorca charts the increasingly destructive obsession of a childless young country wife, and probes the darker zones of human fears and desires. The Spanish text is supported by an introduction and critical notes in English.

Blood Wedding. Concerned with love that cannot become marriage among the primitive hill people of Castile, this is a play of the workings of tremendous passions and tribal ritual toward an inescapable tragic end. Yerma. "The whole tragic burden of Yerma is measured by the deepening of her struggle with the problem of frustrated motherhood." -From García Lorca, by Edwin Honig. The House of Bernarda Alba. Again about "women whom love moves to tragedy," Bernarda Alba tells of the repression of five daughters by a domineering mother, of how their natural spirits circumvent her but bring violence and death.

Finished just two months before the author's murder on 18 August 1936 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. The House of Bernarda Alba premiered at the National Theatre, London, in March 2005.

Lorca's Blood Wedding is a classic of twentieth-century theatre. Lorca uses it to investigate the subjects which fascinated him: desire, repression, ritual, and the constraints and commitments of the rural Spanish community in which the play is rooted.