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Learn more about Kindle MatchBook. Kindle Cloud Reader Read instantly in your browser. Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. La casa de Bernarda Alba Spanish Edition. Product details File Size: October 1, Sold by: Enabled Amazon Best Sellers Rank: Share your thoughts with other customers. She strikes the floor with her stick. I hope it will be long before you darken my door again.
The whole village was there. Bernarda Yes, to fill my house with the sweat from their clothing and the venom of their tongues. Bernarda As if a flock of goats had trampled over it. Child, pass me a fan. Aamelia Take this one. She hands her a circular fan decorated with flowers in red and green.
Adela Deliberately There was a group of them still standing outside. With Six Galician Poems, written in the Galician language, Lorca returns to themes of the simple life and folklore of the Spanish people. Mine died years ago. Get fast, free shipping with Amazon Prime. Withoutabox Submit to Film Festivals. La Poncia You should use the bolt too. Like many of Lorca's passionate and intensely lyrical plays that focus on peasant life and the forces of nature, Blood Wedding combines innovatory dramatic technique with Spanish popular tradition.
Through the eight years of mourning not a breeze shall enter this house. Consider the doors and windows as sealed with bricks. Meanwhile, you can embroider your trousseaux. Anything but sit here day after day in this dark room. Bernarda Here, you do what I say. A needle and thread for women. A whip and a mule for men. Bernarda In a loud voice. Let her out, now! Servant It was an effort to hold her down. She may be eighty years old but your mother is tough as an oak tree.
Bernarda It runs in the family. My grandmother was the same. Servant While the mourners were here I had to gag her several times with an empty sack because she wanted to shout for you to bring her a drink of dishwater, and the dog meat she says you give her. Bernarda Very well, but keep your headscarves on. Adela Pointedly I saw her peeping through a crack in the gate. The men have just left. Bernarda And why were you at the gate, yourself?
Bernarda But the male mourners should already have left! Adela Deliberately There was a group of them still standing outside. Who were you gazing at? Bernarda Advancing with her stick Spineless, sickly creature! La Poncia Rushing over Bernarda, be calm! La Poncia She did it without thinking what she was doing, and that is was wrong of course. I was shocked to see her sneaking towards the courtyard! With curiosity What were they saying? Last night they tied her husband to the manger, and carried her off on horseback to the heights of the olive grove.
La Poncia She was willing enough. They came back at daybreak. And those who went with her are sons of foreigners too. Bernarda No, but they like to look on, and gossip, and smack their lips over what occurred. Bernarda Looking round with some apprehension.
What sort of things? La Poncia Your daughters are of an age to receive compliments! They scarcely oppose you. Angustias must be over thirty by now. The men here are not of their class. Would you have me give them up to any beggar who asks?
La Poncia You should have moved to some other village. Are we not friends? You serve me, and I pay you. To the Servant Start whitewashing the courtyard. Not even the handkerchief we covered his face with! She goes out slowly, leaning on her stick and looks back at her servants as she goes. Amelia and Martirio enter. Martirio I do things without any faith in them, like a piece of clockwork. Amelia You seem better since the new doctor arrived. Amelia Did you notice? She used to be happy: Whenever she comes here, mother sticks the knife in.
Martirio No, but tales are repeated. And to me it all seems one dreadful repetition. Since childhood they make me afraid. God has made me feeble and ugly and has always kept them away from me. Martirio People invent things! It was all talk. Then he married another girl with more money than I. Martirio What does beauty mater to them? What matters are land, oxen, and a submissive bitch to fetch them their food.
That was a happier time. A wedding lasted ten days and there was no malicious gossip. Brides wear white veils as they do in the towns, and we drink bottled wine, but we waste away because of their chatter. Magdalena Oh, she put on the green dress that she first wore on her birthday, and went into the yard and shouted: Magdalena You know more about it than I. You always have your heads together, like little sheep, but you never tell anyone anything. Magdalena Imitating her Oh that! If she looked like a broomstick with clothes on at twenty, what is she now at forty!
Good fortune comes to those who least expect it.
Amelia She speaks the truth though! Magdalena Have the chickens seen you in that yet? A Season in Granada brings together poems, essays and excerpts from letters by the great twentieth-century poet Federico Garcia Lorca, including two sequences of poems and an essay previously unpublished in English. The writings form a dazzling, elegiac celebration of the city of Granada, where Lorca grew up, where he studied, and to which he returned frequently in his life and in his imagination.
And where he would die. In Christopher Maurer's words, the twenty poems in the two Suites, 'Poem of the Fair', and 'Summer Hours', draw on 'the structural ideas and whimsical tone of one of Lorca's favourite composers, Claude Debussy. The idea was to capture some phenomenon - the moon, the hours of evening, the ocean, wheatfields, flamenco - in a series of stylized estampas prints or moments.
Published to celebrate the centenary of Lorca's birth, these poems, essays and letters are remarkable for their freshness and vitality, and go right to the heart of his extraordinary and passionate vision. Lorca's Blood Wedding is a classic of twentieth-century theatre. The story is based on a newspaper fragment which told of a family vendetta and a bride who ran away with the son of the enemy family.
Lorca uses it to investigate the subjects which fascinated him: Ted Hughes's version stays close in spirit and letter to the original Spanish. With marvellous directness, he fused Lorca's vision to his own, and the result is a powerful poetic text which captures all the violence and pathos of the play for an English-speaking audience. Lorca is one of the few indisputably great dramatists of the twentieth century Observer Mariana Pineda achieved immediate critical success on its first performance in Barcelona in The Public is a powerful and uncompromising demand for sexual, and specifically homosexual, freedom - as predicted it was never performed in Lorca's time - it was first performed in this country by Theatre Royal Stratford East in the 80s.
Play Without a Title, an unfinished Lorca rarity, realises his wish 'to do something different, including modern plays on the age we live in'. The second of Lorca's trilogy of rural dramas, Yerma, is a blend of contrasting moods through which Lorca charts the increasingly destructive obsession of a childless young country wife, and probes the darker zones of human fears and desires. The play's rich mode of expression - a combination of verbal, visual and auditory images and rhythms - is also geared to celebrating sexual attraction and fertility, creation and procreation.
Through his characterization of the play's central figure, Lorca raises the question of women's social status - a controversial question both then and now, and one to which Robin Warner pays particular attention in his critical introduction to the play. He also examines the links between the dramatic structure of Yerma and the importance of cultural politics during the course of the Second Spanish Republic. The Spanish text is supported by an introduction and notes in English, as well as by an extensive vocabulary and section of discussion questions.
This bilingual edition was the first to include Lorca's last poems, the previously lost Sonnets of Dark Love. It covers the full range of his poetry, from the early poems and the gypsy ballads to the agitated Poet in New York and the Arab-influenced gacelas and casidas. Also included is the Lament for Sanchez Mejias, Lorca's great elegy for his bullfighter friend, as well as his famous lecture, Theory and Function of the Duende. From Lorca's prologue to a puppet play: The first time was in the house of this poet- remember that, Federico?
It was spring in Granada, and the drawing rooom of your house was full of children who were saying: Lorca is one of the few indisputably great dramatists of the twentieth century Observer The Shoemaker's Wonderful Wife and The Love of Don Perlimplin use an old story of the old man married to the young wife to expose the social attitudes of a traditional Spain bound by rigid concepts of decency, reputation and honour.
The Puppet Play deploys the puppets' uninhibited and passionate emotions as a direct attack on the 'tedious triviality' of commercial theatre. Collected here in one bilingual edition are new translations of four small books of poems that were published during Federico Garcia Lorca's lifetime and span his most creative years.
First Songs, poems inspired by the Andalusian countryside are comparable in style and theme to those in his masterpiece Poem of the Deep Song. This charming little book was given by Lorca to his friend Manuel Altolaguirre and his wife as a gift to their first child. Ode to Walt Whitman, a passionate meditation on homosexuality in a society that proscribes it, is perhaps the best-known book to have come out of the poet's New York Cycle of poems, a damning vision of urban life under capitalism. Perhaps Lorca's finest poem, A Flood of Tears for Ignacio Sanchez Mojis, is a moving elegy to his friend, a renowned bullfighter who was also a writer and a hero to a generation of poets.
With Six Galician Poems, written in the Galician language, Lorca returns to themes of the simple life and folklore of the Spanish people. Published only a few months before the Spanish Civil War broke out, this book -- a classic of Galician literature -- never won the prominence it deserved. His real impact, however, surely comes from the stark vividness of his imagery, his ability to conjure up primal subjective realms of love and death: The guitar makes dreams weep.
The sobbing of lost souls escapes through its round mouth. And like the tarantula it spins a large star to trap the sighs floating in its black, wooden water tank. Garcia Lorca's poem dedicated to the New York poet is nothing short of beautiful. The translation does not detract from the emotion and respect that Garcia Lorca has for Walt Whitman.
He was well-known as a member of the Generation of '27 who introduced symbolism, futurism, and surrealism to Spanish literature. Posthumous Plays New Directions. He has also translated the work of contemporary writers into Spanish.
The magic of Andalusia is crystallized in Federico Garcia Lorca's first major work, Poem of the Deep Song, written in when the poet was twenty-three years old, and published a decade later. In this group of poems, based on saetas, soleares, and siguiriyas, Lorca captures the passionate flamenco cosmos of Andalusia's Gypsies, those mysterious wandering folk who gave deep song its definitive form. Cante jondo, deep song, comes from a musical tradition that developed among peoples who fled into the mountains in the 15th century to escape the Spanish Inquisition.
With roots in Arabic instruments, Sephardic ritual, Byzantine liturgy, native folk songs, and, above all, the rhythms of Gypsy life, deep song is characterized by intense and profound emotion. Fearing that the priceless heritage of deep song might vanish from Spain, Lorca, along with Manuel de Falla and other young artists, hoped to preserve the artistic treasure of an entire race. In Poem of the Deep Song, the poet's own lyric genius gives cante jondo a special kind of immortality. Lorca was a minstrel, and he understood poetry as an oral expression In Poem of the Deep Song, Lorca did not try to imitate the lyrics or music of cante jondo, but he did, I think, rely on its compas in order to craft poems that would enact the experience of the solitary anguish that is cante jondo.
Poetry of the Spanish Civil War. He has also translated the work of Henry Miller and other contemporary American writers into Spanish. Federico Garcia Lorca, G. These three tragedies were written at the height if Lorca's powers and display his innovative mix of Spanish popular tradition and modern dramatic technique. Blood Wedding tells the story of a couple drawn irresistibly together in the face of an arranged marriage; Dona Rosita the Spinster follows the appalling fate of a young woman beguiled into the expectation of marriage and left stranded for a lifetime whilst Yerma is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility.
Set in and around his home territory, Granada, the plays return again and again to the lives of passionate individuals, particularly women, trapped by the social conventions of narrow peasant communities. The plays appear here in new playable translations. Federico Garcia Lorca, Lawrence H. This is the first English translation of Federico Garci. In this work he reveals the ideas and experimental stylistic features that characterize his later writings.
The introduction provides historical, literary, and cultural background of Lorc. Federico Garcia Lorca, J. One of Lorca's best known plays tells the story of a young peasant wife in rural Spain whose sole conscious desire is to embody what she regards as the natural, moral and social laws governing her life as a woman in motherhood.
The tragedy of Yerma, which literally means 'barren', in this powerful and emotive drama, is that she remains childless and so is denied the dignity and the emotional fulfilment which traditionally only the role of mother could bring. The frustration of Yerma's maternal instinct, the only acceptable channel for her sexuality in her repressive society, leads her through humiliation and despair to an erosion of her whole personality which culminates at the end of the play in violence and death.
It is not only the strong feminist theme that accounts for the play's great popular appeal today. With the highly charged emotion are blended poetic imagery and lyricism which haunt the imagination of modern audiences as much as those of fifty years ago when Lorca was murdered. Spanish text with facing-page translation, introduction and notes. This excellent edition is most welcome. A select bibliography, a brief vocabulary, several footnotes to explain points of difficulty, fourteen long endnotes Professor Leo Hickey, 'Modern Languages' 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. If this is your author page then you can share your Twitter updates with your readers right here on LoveReading.
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