Wednesday, August 17, 2016

Lorca and theater: from New York to Buenos Aires, a formidable scenic construction – Telam

It was not in strictly residence but a celebration of Three Kings who arranged for her sisters Isabel and Laura, at which time he was already writing a lyrical operetta, “Lola, the comedienne,” which was to have music of Manuel de Falla , but was truncated.

His first completed and released in the Spanish capital in 1920, work was “the butterfly’s Evil spell”, a real failure that garnered boos directed by Gregorio Martínez Sierra, a playwright who later time during his stay in Buenos Aires, he had the reputation of a charlatan, as he signed works actually wrote his wife.

Several years later, in 1930, after completing his famous stay in New York, Lorca He moved to Havana with the intention of studying music and Cuban culture and began sketching “So spend five years” and “public”, the “homoerotic” and scandalous for his intellectual friends work, Alfredo Alcon premiered in Milan and Madrid in 1987, nearly six decades later.

back in Spain and sponsored by the Ministry of Education, during the Second Republic in 1931, co-founded the group La Barraca, a traveling university cast representing passages or complete works of Lope de Vega and Calderon de la Barca in cities and towns lacking the theater.

Poet above all, García Lorca is held by scholars as the Spanish most represented along with Ramon Maria del Valle-Inclan, who seems to have drunk the poetry of the dialogue and the impulse toward the popular, but also has influences of modernism and Lope de Vega, as seen in the metric of “Mariana Pineda” released in 1927, which reflects the life of the eponymous heroine of the nineteenth century by a deeply lyrical drama.

in the Madrid premiere in 1930 of “the shoemaker’s prodigious Wife”, labeled a “violent farce in two acts” starring Margarita Xirgu, and include knives and blood as elements of the action in a rural area, which Lorca himself said, “I would have rated ‘patacomedia’, if the word did not sound to me pharmacy .. . and, as you have seen, the work is almost a ballet, pantomime and comedy at the same time. “

Argentina camouflaged Spanish Lola Membrives had known the Granada in 1931, during a tour of Latin America, and two years later premiered in Buenos Aires “blood Wedding”, the first of his great works, and at the Showstoppers invited Lorca to enjoy these honeys directly in Buenos Aires.

Lorca was installed at the Excelsior hotel -current Castelar- on Avenida de Mayo 1152, where he shared tables with Alfonsina Storni, Oliverio Girondo and Norah Lange, among other intellectuals and artists, and where between mid-1933 and March 1934 he met for the first time, in addition to the glory, the slack economy.

was also in Montevideo, where he rubbed shoulders with the poet Juana de Ibarbourou, the sculptor Juan Zorrilla de San Martin and the Mexican essayist Alfonso Reyes, and He rounded some pieces that had fallow; and back to Buenos Aires led a successful remake of “Blood Wedding” also with Membrives as the protagonist, and other works of his own, in addition to his own adaptation of “La dama boba” Lope.

his sympathy, their training and people skills won him a legion of fans in the Buenos Aires area; He attended numerous receptions and offered lecture theater Smart -current Multiteatro-, in which foyer was greeted by Carlos Gardel, at times when the controversial Spanish doctor Pablo Suero hoarded rooms to promote their healing methods.

on his return to Spain, with the support of his River Plate fame and pocket smoothly, put an end to his sketches of “Yerma”, “Dona Rosita the spinster” and most of all, “the house of Bernarda Alba” in addition to writing poems and give talks, shortly before being shot “by red and fagot” on the road Víznar to Alfacar, on August 18, 1936.

According to the alfacareño newspaper Ideal, in 1986 bricklayers working on the construction of the Parque Federico García Lorca, in the alleged scene, to commemorate the 50th anniversary of the murder of the poet, they found human remains and wooden crutch, which could have belonged to the teacher Dioscorus Galindo Gonzalez, Federico companion in misfortune and two amateur bullfighters, but the urgency to complete the works made everything gourd and the sign remained a mystery.

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