BBC Radio 4 In Our Time, Lorca

His poetry and drama are a calling forth of the subconscious truths that, finally, define our humanity at its fullest. All the plays are “social protest” in spirit, exploring the clash of inner feelings with the deadening demands of established social convention. As was the case with his poetry, the dramas also combine the real with the dream and provide García Lorca’s audience with a starkly Surrealist landscape bodied forth in strange, dynamically poetic language. Moreover, because of these plays’ concern with the classically elemental emotions of sex, love, hate, jealousy, and death, they have been compared to Greek tragedy. By the 1930’s, while continuing to suffer emotional strife and bouts of depression, García Lorca turned his creative talents to the drama. Yerma, for example, is a tense drama concerning a woman’s obsession with her inability to have a child and her failure to achieve the love of her husband.

But on Aug. 16, three Falangist officers arrived to arrest him. Garcia Lorca sided with the anti-fascist Republicans but did not fight. The fascist Falangists found him suspect because of his liberal views and because he was famous and homosexual.

Similarly, the Bride frequently lashes out at her Servant due to her frustration about the impending marriage. The characters cannot correctly identify the sources of their problems, and thus forgiveness is out of the question. In 1986, Leonard Cohen’s English translation of the poem «Pequeño vals vienés» by García Lorca reached #1 in the Spanish single charts (as «Take This Waltz», music by Cohen).

Gacela of the Remembrance of Love

• Many of his works were infused with popular themes like Flamenco and Gypsy culture. • This collection of works was inspired by traditional Spanish romance poetry. • Although the author was famous for many works, people loved most the plays and poems that he wrote about gypsy culture, while he himself felt that he did not want to be pigeonholed into that topic.

The Mother goes to The Bride’s house, along with The Groom, where she meets the Bride’s Servant and the Father of The Bride. The Father tells The Mother about his dead wife and his desire to see his daughter marry and bear children. The Father then shows them out, leaving The Servant with The Bride.

Federico García Lorca explored the female soul as no other male writer had done before. His vivid presentation of the effects of oppression and the internalisation of emotion that women endure, in the plays Bodas de Sangre, Yerma and La Casa de Bernarda Alba, is unique and profound. Moreover, Lorca was highly influenced by the period of “modernismo” that was ensuing in Spain during his lifetime. He was, indeed, close friends with Cubist painter Salvador Dalí.

“It’s not about revenge, it’s about documenting history,” she said. We threw our hands in the air over what Pinochet did in South America, but no one has done anything about our own desaparecidos”—disappeared ones. Lorca’s grave, by the side of a road at the edge of a nearby village, was also long unmarked—he and the bullfighters and the schoolteacher were buried there together, secretly and hastily.

Later poetry and plays of Federico García Lorca

During a spell living in New York, he wrote a list of poems called «Poeta en Nueva York» or a Poet in New York. Here, he breaks his previous literary schemes and approaches poetry with a modern vision, describing passages of a city that entered the rapid industrialization amid complex social circumstances. As the play opens, The Mother speaks with her son, The Groom. Act I reveals that The Groom’s father was killed a few years ago by men from the Felix family.

There is an overwhelming need to be understood and appreciated by the numerous friends one attracts. Success can be achieved in all occupations requiring good oratorical and negotiating skills, for instance in education, mediation, television, etc. One must think thoroughly before getting involved in any serious partnership because the first moments of exhilaration might be followed by disenchantment and bitterness. It represents dictators, sadistic people, violent characters, is instinctive and powerful but also mysterious with hidden strengths.

The piece is set for solo guitar, baritone and flamenco dance, and was performed in 1990 at the New Performance Gallery in San Francisco. The second performance took place in Canoga Park, Los Angeles in 2004. The Italian avant garde composer Luigi Nono wrote a composition in 1953 entitled Epitaffio per Federico García Lorca. Spanish poet Luis Cernuda, who is also part of the Generation of ’27, wrote the elegy A un poeta muerto (F.G.L.). The excavations began at the request of another victim’s family.

The most beautiful work, that which is forever unforgettable, is a work of love. You totally indulge in the heart’s attachments, and in sentimental and romantic relationships. You manage to possess the object of your desires, be it a lover, a child, or a work of art.

Similarly, the Neighbour mentions that Mother only rarely leaves her own house to visit friends or do errands. The physical isolation of the play’s female characters reflects their emotional alienation–in Mother’s case, due to the murders of her husband and son, and in the Bride’s case, due to the pressure to marry. As well as returning to the classical roots of theatre, García Lorca also turned to traditional forms in poetry. His last poetic work Sonnets to his dark love was inspired by a passion for Rafael Rodriguez Rapun, secretary of La Barraca. The love sonnets are inspired by the 16th century poet San Juan de la Cruz.