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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.
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 contemporary 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 tradition 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). Chapter 5 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
"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 1927. 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'.
Two additional comedies, published here in book form in English for the first time, are The Billy-Club Puppets -- a guignol-type farce with delicate wit; and The Butterfly's Evil Spell, an "insect comedy" about a beetle-poet who aspires to be a butterfly.
Here in the authorized translation by James Graham-Luján and Richard L. O'Connell, with an illuminating biographical introduction by the poet's brother, Francisco García Lorca, are three tragic dramas by the great modern Spanish poet and playwright which have caught the imagination and won the critical acclaim of the literate world.
A reflection on Federico García Lorca’s life, his haunting death, and the fame that reinvigorated the marvelous in the modern world “A galaxy of critical insights into the cultural shock waves circling and crisscrossing Lorca’s execution and his unknown resting place, there is not a single book on Lorca like this one.”—Andrés Zamora, Vanderbilt University There is something fundamentally unfinished about the life and work of Federico García Lorca (1898–1936), and not simply because his life ended abruptly. Noël Valis reveals how this quality gives shape to the ways in which he has been continuously re-imagined since his death. Lorca’s execution at the start of the Spanish Civil War was not only horrific but transformative, setting in motion many of the poet’s afterlives. He is intimately tied to both an individual and a collective identity, as the people’s poet, a gay icon, and fabled member of a dead poets’ society. The specter of his violent death continues to haunt everything connected to Lorca, fueling the desire to fill in the gaps in the poet’s biography.
With a rare blend of grace, warmth, and scholarship, Leslie Stainton raises the stakes of our appreciation for the greatest of Spain's modern poets, Federico Garca Lorca. Drawing on fourteen years of research; more than a hundred letters unknown to prior biographers; exclusive interviews with Lorca's friends, family, and acquaintances; and dozens of newly discovered archival material, Stainton has brought her subject to life as few writers can. She describes his carefree childhood in rural Andalusia; his residencies in Madrid and Granada, then in New York, Havana, and Buenos Aires; his potent interaction with other Spanish artists, such as Salvador Dal, Luis Buuel, and the composer Manuel de Falla; and, finally, Stainton shows how Lorca's marginal political activity during the Spanish Civil War still cost him his life. Throughout, Stainton meticulously but unobtrusively relates the oeuvre to the life. Her biography is quickly becoming the standard one-volume work on the poet.
Poems are in Spanish, and in English translation.