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By Federico Bonaddio

A significant other to Federico Garcí­a Lorca presents a transparent, severe appraisal of the problems and debates surrounding the paintings of Spain's so much celebrated poet and dramatist. It considers prior and present ways to the learn of Lorca, and likewise indicates new instructions for extra research. An advent at the usually contentious topic of Lorca's biography is via 5 chapters - poetry, theatre, song, drawing and cinema - which jointly recognize the polymath in Lorca. another 3 chapters - faith, gender and sexuality, and politics - whole the quantity by means of masking very important thematic matters throughout a couple of texts, issues which needs to be thought of within the context of the enduring prestige that Lorca has received and opposed to the heritage of the cultural shifts affecting his readership. The significant other is a testomony to Lorca's enduring allure and, via its explication of texts and research of the fellow, demonstrates simply why he maintains, and may proceed, to draw scholarly curiosity. participants: FEDERICO BONADDIO, JACQUELINE COCKBURN, NIGEL DENNIS, CHRISTOPHER MAURER, ALBERTO MIRA, ANTONIO MONEGAL, CHRIS PERRIAM, XON DE ROS, ERIC SOUTHWORTH, D. GARETH WALTERS, SARAH WRIGHT

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Additional resources for A Companion to Federico Garcia Lorca

Example text

In ‘Juego y teoría del duende’ [Play and Theory of the Duende], which supersedes the earlier essay entitled ‘Imaginación, inspiración, evasión’, poetic inspiration is attributed to any of three transcendent forces: the angel, the muse, or the duende (the first two much less clearly differentiated than the duende). In Lorca’s view, the duende – a popular Spanish expression for an impish household spirit and for a mesmerizing, inexplicable sort of charm – is a mysterious chthonic force responsible not only for inspired creation but also for the successful transmission and comprehension of works of art.

We should never want to copy their ineffable modulations: we can do nothing but blur them. Simply because of education. (Deep Song, p. 33) Those words are in consonance with Falla’s treatment of traditional song in his own works. The following words, written by Falla’s disciple and Lorca’s close friend Adolfo Salazar, who was then writing for the Madrid daily El Sol, apply not only to works like Falla’s Retablo de Maese Pedro [Master Peter’s Puppet Show], which Falla was working on around the time of the Festival, but also to Lorca’s poetry: Evocation is, today, an element of beauty, a source of emotion; it doesn’t try to reconstruct or bring anything back to life.

Bergamín’s edition appeared almost simultaneously with a bilingual edition published by the poet and translator Rolfe Humphries in New York. 32 Lorca’s return to Spain and the advent of the Second Republic in 1931 brought new involvement with its cultural programmes (for example, the travelling theatre group La Barraca, dedicated to giving rural Spain access to the classical theatre of Lope de Vega, Cervantes, Tirso de Molina and others), and a will to address social problems through the theatre, which Lorca conceived both as a form of poetry – ‘the poetry which rises from the book and becomes human’ (Obras completas, III, p.

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