A 80 years after the murder of Federico García Lorca -perhaps the greatest Spanish poet of the twentieth century, his work, covering literature, theater, music and drawing, remains revisited, analyzed and approached from different perspectives that seek to explain the inexhaustible power the artist who was shot in Granada at 38 years by Francoist authorities after the coup that led to the Spanish Civil War.
“When the pure forms collapsed / under cri cri of daisies / I realized that I had been killed,” Lorca wrote in his extraordinary “Poet in New York” (1929-1930), who would be shot early 18 August 1936 in Granada, Andalusia, by a Francoist military troops accused of “socialist, homosexual and Mason.” His body, which was not yet found, was buried in an unmarked mass grave in the town of Alfacar.
Born on the June 5, 1898 in Fuente Vaqueros, Granada, Lorca was one of the greatest exponents of the ‘Generation of 27′, literary group composed of Jorge Guillen, Rafael Alberti, Pedro Salinas and Luis Cernuda among other Spanish poets, and one of the most important figures of theater in the twentieth century Castilian. His work as a playwright combines powerful farces, comedies, tragedies and dramas.
Atravesada by human dramas, popular sentiment, social sensitivity, forms of love and always poetry, in his play include “The Butterfly’s Evil Spell”, “Mariana Pineda”, “The Shoemaker’s Prodigious Wife” “Retablillo of Don Cristobal”, “public”, “So spend five years”, “the Love of Don Perlimplín and Belisa in the garden”, “blood Wedding”, “Yerma”, “Dona Rosita the spinster or the language flowers “and” the house of Bernarda Alba “, considered his masterpiece.
Tradition, art, symbolism, politics, a cultured and popular look both together in poetic works such as “Book of Poems”, “Poem of cante hondo”, “Ode to Salvador Dalí “” gypsy Ballads “and especially” Poet in New York “, a powerful cry torn against the dehumanization of modern society that somehow bears a relation to” My discovery of America “book chronicles Vladimir Mayakovsky wrote between 1925 and 1926 after traveling Cuba, Mexico and the United States.
Between October 1933 and March 1934, Lorca occupied room 704 of the Hotel Castelar in Buenos Aires, a city that captivated him. Invited by the Association of Friends of Art, the poet came to spend a few weeks but several months stood, dazzled in his walks Avenida de Mayo and its meetings at the Café Tortoni, where he shared a table with Victoria Ocampo, Oliverio Girondo and Carlos Gardel, among others.
As a form of homage to the 80th anniversary of the murder of the great Spanish poet, will be held tomorrow the show “80 Roses for Federico” in Noel Palace Museum of Hispano-American Art Isaac Fernández Blanco, as well as a special role of the play “Frederick had a dream” Maria Marta Guitart sole guest artists who will say texts of Lorca.
Writers Juan Jose Mendoza and Jotaele Andrade, knowing Lorca universe, spoke with Telam on the work, the influence and legacy of the great Spanish poet, who is still alive as an inexhaustible pulse in history Universal literature.
The writer Juan Jose Mendoza, a researcher at CONICET and author of “Diary of a drinker oil,” said that “there are still small ‘Lorquian areas’ not visited at all. As if fragments of the work of Lorca still wanted to link with the identification of the place where his remains -situados remained hidden until April this year at a waterhole in Alfacar “.
“Over the years, and many years after his death, they were appearing manuscripts and unpublished drawings of García Lorca. In the 80s, Mario Hernandez discloses a series of unpublished drawings signed by Lorca and dedicated to the members of the Gallo Magazine who had founded in Granada in 1928. Among those drawings disclosed recently in 1987 published the ‘Holy Pilgrim’ (1924-1926), ‘Clown with guitar’ (1925 ) and ‘the page of the fishbowl’ (1926), “said Mendoza.
And remember that “in 2012, in connection with an investigation dedicated to the magazine Gallo, Nicolas Antonio Fernandez discloses other documents that are part of the correspondence of Lorca with fellow Granada vanguard. Among documents appear entretelones of the time, and other drawings of Lorca as ‘Love’ (1921) “.
“The Gallo magazine -only two numbers between February and April 1928 is important because it shows that the vanguard of the 20s in Spain is not concentrated in the Residencia de Estudiantes in Madrid or other vanguards XX century-concentrated in Buenos Aires or in Paris- but scattered in different places, as in Granada. Therefore can be said that García Lorca is an avant-garde ‘not set’, “says Mendoza.
He explains that in “Poet in New York”, “the poet works the antagonism that occurs between the modernity of Manhattan cityscape and dehumanized life of his characters. García Lorca ago as an interface for to process the antagonisms that occur between the archaic society of the Spain of his childhood and dazzling modernity of the large urban centers. ”
And finally says: “Lorca is a way of looking Like many places in Latin America throughout the twentieth century, Granada where Lorca forged his gaze is a decentered and peripheral place.. Hence Lorca also melts to Latin Americans in general a way of looking modernity.
Meanwhile, the poet Jotaele Andrade, author of “the Earth metals”, believes Lorca “establishes its poetic register fan so that the reader can come from these records and keep the Lorca that you like: who takes the folk in the ‘Cante Jondo’, which pays homage to Moorish Spain in ‘Divan del Tamarit’, reflective and aghast surreal ‘Poet in New York’ and others. “
” I addition to Lorca playwright, lecturer, even the musician who was behind all those singing voices. Y is a powerful all perfectly set the tone of tragicity, who watches all his work, poetry, the theater, the conference-also mixed with his life, and that coincidence is powerfully attractive, “said the poet.
According to Andrade, “Lorca dimension as we speak much influence on the use of metaphors and poetic turns by Latin American poets is not possible. Because it is not there where the importance of the ‘Andalusian Divine’. There is, yes, a whole Lorcan symbolism that is already part of the universal symbolism of poetry and Latin American poetry which abreva. Lorca is the most Spanish of all, the core of all when the bone is where poetry plunges his sword. “
” With his life, Lorca struck a chord, poets and readers, no one had touched before -apunta Andrade-. Enraptured violence rose passion, which is given very red and ephemeral day, with his running on a enlunada, tragic and smiling, desperate and melodious ledge. I think that’s where Lorca still builds its existence and forging, and forces, to look the other way poetry and existence. That’s his legacy. A way of conceiving tragedy and passion from a musical and poetic vitality, like going to the gallows singing merrily “
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