Download Three Plays: Blood Wedding; Yerma; The House of Bernarda Alba (FSG Classics) djvu

by Michael Dewell,Carmen Zapata,Federico Garcia Lorca

Author:	Michael Dewell,Carmen Zapata,Federico Garcia Lorca
Subcategory:	Dramas & Plays
Language:	English
Publisher:	Farrar, Straus and Giroux; 1st edition (September 1, 1993)
Pages:	336 pages
Category:	Fiction and Literature
Rating:	4.2
Other formats:	azw txt mbr docx

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The trilogy by FGL, Yerma, Blood Wedding and The House of Bernarda Alba is set in Spain not Peru.

Blood Wedding tells the story of a scandal set in Andalucia in the south of Spain. Based on a real story which Lorca discovered in the local press, it examines the rigid social structure of Spain at that period. The trilogy by FGL, Yerma, Blood Wedding and The House of Bernarda Alba is set in Spain not Peru. They are an excellent portrayal of life in rural Spain during those times. A must read for anyone, but especially those who are studying Spanish literature.

Although Garcia Lorca was interested in drama throughout his life, he did not produce much of significance until the 1930s

Although Garcia Lorca was interested in drama throughout his life, he did not produce much of significance until the 1930s. Most important is his trilogy of Spanish rural life, Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936), all tragedies with women as protagonists. In each play, the fall of the heroine, and of those around her whom she pulls down, is caused by frustrations produced by society. Blood Wedding demonstrates the sterility of the traditional code of honor

In Yerma, Blood Wedding and The House of Bernarda Alba, Lorca portrays frustrated female sexuality in particular with extraordinary insight. The House of Bernarda Alba, the most naturalistic of the three, but still clearly expressionistic, is my absolute favourite.

The House of Bernarda Alba (Spanish: La casa de Bernarda Alba) is a play by the Spanish dramatist Federico García Lorca. Lorca did not include it in his plan for a "trilogy of the Spanish land" (which remained unfinished at the time of his murder). Lorca described the play in its subtitle as a drama of women in the villages of Spain

Three Plays: Blood Wedding; Yerma; The House of Bernarda Alba (FSG Classics).

Newly repackaged, three plays by Federico García Lorca

Newly repackaged, three plays by Federico García Lorca. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. Federico García Lorca, one of Spain's greatest poets and dramatists, was born in a village near Granada in 1898 and was murdered in 1936, at the beginning of the Spanish Civil War.

Federico García Lorca - Poet - Federico García Lorca is one of the most important Spanish . Ay, cómo canta el alba, cómo canta! ¡Qué témpanos de hielo azul levanta! El tiempo va sobre el sueño hundido hasta los cabellos.

Federico García Lorca - Poet - Federico García Lorca is one of the most important Spanish poets and dramatists of the twentieth century. ngeles Fernández C. Granada mágica.

His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage.

Blood Wedding; Yerma; The House of Bernarda Alba. Federico García Lorca; The New Authorized English Translations by Michael Dewell and Carmen Zapata; Introduction by Christopher Maurer. Farrar, Straus and Giroux. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage.

The Duchess of Malfi. Previous: Complete plays. Library availability.

Federico Garcia Lorca, Federico Garcia Lorca, Michael Dewell, Carmen Zapata, Federico Garcia Lorca, Michael Dewell, Carmen Zapata, Federico Garcia Lorca, Michael Dewell, Carmen Zapata, Michael Dewell, Carmen Zapata. The Duchess of Malfi.

Newly repackaged, three plays by Federico García Lorca

In these three plays, Federico García Lorca's acknowledged masterpieces, he searched for a contemporary mode of tragedy and reminded his audience that dramatic poetry―or poetic drama―depends less on formal convention that on an elemental, radical outlook on human life. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The results, both performable and readable, have been thoroughly revised for this edition, which has an introduction by Christopher Maurer, the general editor of the Complete Poetical Works of García Lorca.

Comments:

Kieel

Classic plays by Federico Garcia Lorca! I ended up give this book to my dad once I was done with it. Great book!

Zut

To my understanding, the three tragedies included in this volume are considered to be amongst the author's most well-known plays. Each play is strongly influenced by his primary literary outlet (poetry) and exhibits a lyricism and scripted efficiency that is rarely exhibited in modern theatrical works. His use of symbolism is also well-documented is attributable, no doubt, to his involvement in the Spanish Avant-Garde movement in the 1920's and 30's. With that being said, two of the three are less than impressive upon a first reading which leads me to believe that either a) they require multiple readings and instruction to be fully appreciated, or b) the plays' critical acclaim is related more to the act of critical acclamation than actual content. The introduction by Lorca's brother attempts to make a case for the former and provides a valuable postscript to the three plays (assuming you read it after the plays, as opposed to before).

* Blood Wedding
A simple story of forbidden love and deadly revenge. Perhaps it is better in its original language, but the story is nowhere near as compelling as other love-or-death dramas in my opinion. Songs and choruses provide thematic direction in most instances and remind me of Greek dramas without the mythological background which would otherwise ease character development. The emotional impact is stunted somewhat by the groom's lack of clear interest in his bride other than honor.

* Yerma
Poetry and lyricism take center stage here more so than the other two dramas. However, it is difficult to emotionally connect with the protagonist, especially the perversion of her matronly desire into the abrupt murder of her husband. It is almost as if the play requires not a suspension of disbelief, but a willing acceptance of a dramatic conclusion withouth knowing anything about any character other than Yerma. It feels more like an experiment than a timeless piece of literature.

* The House of Bernarda Alba
This is the best-constructed of the three in terms of character and plot development. The first act seems much more immediate than anything in the other two plays and the pacing makes it easy to understand the conflict between the oppressive tradition required by the mother and the cloistered daughter's desire to choose and act for themselves. Here we see the mother's oppression translating into secrecy and conspiracy amongst the daughters, similar to the behavior of a populace during dictatorial regimes. In such a case, it is easy to see that the end of repression is a violent transition, even if directed inwardly.

My presumption is that this is required reading for students of theatre and Spanish literature. However, the casual reader will probably be better served to read `Bernarda' and skip the other two.

ME

This book encapsulates three of Lorca's most famous and indeed interesting plays, together with brief reviews, into one volume. Blood Wedding tells the story of a scandal set in Andalucia in the south of Spain. Based on a real story which Lorca discovered in the local press, it examines the rigid social structure of Spain at that period. The imagery is strong, drawing comparisons to the arid landscape of the area and the weak willed men, and emphasising the true romanticism which the 'ill starred lovers' experience. The story is intriguingly similar to Romeo and Juliet and yet very much a story in its own right, due to its social comments, and the fact that, along with 'La Casa de Bernarda Alba' in particular, reveals much about the sexual repression that Lorca himself experienced, given that he was homosexual in a strongly catholic country. 'The House of Bernarda Alba' is also cleverly included in this trilogy, providing valuable comparisons with the other two texts. About a fatherless household, again in Andalucia, it tells how natural passion overrides the social rules which bind the young women in the house, who ultimately rebel against their matriarch, the tyrannical Bernarda Alba. This story is again centralised around the power of our basic instincts, but does not have the same beauty, due to the lack of mutual love between the characters. Where Leonardo in Blood Wedding did what he did for true love, Pepe El Romano is a far more shallow character, looking to have his cake and eat it. Yerma is the third rural tragedy, along similar lines as the other two plays, it is about the frustration of a childless young wife, not permitted to fulfil her natural abilities. Lorca examines here the role of women in the repressive suffocating heat of Spanish culture, and asks some interesting questions, perhaps inspired by his sensitivity to their situation.

Laitchai

This book was utterly amazing each story was individually evocative but when all three are read the reader finishes with a picture of life in Peruvian culture. In Blood wedding Ana Maria Matute shows you how Peruvian weddings are so important in the culture. She builds up the characters through exquisitely sculpted dialogue. Along with that there is a mysterious plot that takes you through the uncovering of deaths through the eyes of Ernesto Guevarra, the main character. Yerma was also an amazing piece showing you the difficulty a rural women has from having so many babies. Ana Maria Matute builds up the end with amazing style. The House of Bernarda Alba is the lesser of the three. However, it is still exemplary. The setting is a wealthy hacienda in the agricultural area of Peru. The mother(Bernarda Alba) leads her family through difficult times and is also built up beautifully by Matute. All three have dramatic provoking climaxes which makes the reader feel the emotion of the characters.

Dianantrius

Lorca uses simple mathematical expressions to convey emotions. A colour, for example white, combined with an object, for example a baby in the opening sequence of Yerma, will add up to a symbolic meaning where either two factors can be used somewhere else. Basically, anything white is a dream of happiness which is destroyed by an event. This very basic set of symbols and the application of "equations" makes Lorca one of the most powerful and accessible writers i've come accross. Oh and the stories are good too (!)

Impala Frozen

These are all well worth reading and deal with themes including indominable passion, society's strictures on women (and men), revenge, family, poor Andalusian society, and much more. Highly recommended (though better in the original Spanish, of course)
Note that these are plays by Federico Garcia Lorca, not Ana Maria Matute, as stated in the above review. Also, they are set in Spain, not Peru. Just for your information...

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