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One example of this is that Lorca wrote many of his characters as symbols instead of characters. “There are parts of the original text that I felt were going to hinder the audience’s experience and, in those moments, I’ve made different choices. In doing double the work, Lopez conserved the truthful, extremely emotional influences of Lorca’s beloved cante jondo, while also finding ways to deepen an already deep song. A critically acclaimed playwright, actress, and the Huntington’s playwright-in-residence, Lopez worked not only to retain Lorca’s genius by uplifting and preserving the story, mystery, and poetry of the play (translation), but also to approach the play with the questions and techniques of a contemporary playwright (adaptation).
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Extremes that make us consider the human need for hope, forseeing a future, for finding answers as disaster looms but as Lorca said about the cante jondo, we can say about Yerma, “in the depths of all this a question beatslike a heart, but it’s a terrible question that has no answer.” So, what now?Ĩ5 years since Lorca’s Yerma, this translation and adaptation of the play marks Melinda Lopez’s fourth production at the Huntington. It’s a play about extremes: of love, obsession, desire, joy, pain. Yerma is a play about a woman who wants to be a mother, but - for some inexplicable reason - can’t be. Civil war loomed, and the earth was about to be wetted with the blood of half a million people, but Lorca, well aware of the danger looming, chose to stay in the Spain he loved. Written in 1934, Yerma coincided with the rise of Francisco Franco’s tyrannical star. Similarly, Lorca’s greatest plays were lived in the extremes. Lorca had an instinctual understanding of the ways in which the cante jondo rejected middling feeling, dealing instead in strong emotion: “the Andalusian either cries to the stars or kisses the reddish dust of his roads” - life is deeply painful or deeply joyous, and there’s no in between. They’re authentic details and seem strange to a lot of people because it’s not often that we approach life in such a simple, straightforward fashion: looking and listening.” Total simplicity,” Lorca once said, about the truth at his writing’s core, “I’m often surprised when people think that the things in my work are daring improvisations of my own. “My whole childhood was centered on the village. He fell in love with the ways in which the songs depicted unfathomable emotions truthfully, and he worked to replicate the effect in his work. Up until Poema, Lorca was influenced by surrealism - his first play El Maleficio de la Mariposa was a symbolist play about insects in love - but after Poema, his dramatic interests shifted to the tragedy of the everyday found in the cante jondo.īorn in a rural village in the south of Spain, Lorca first heard the folk, not quite-flamenco sounds of the cante jondo sung from the throats of workers on his family’s farm. Drawing upon the tradition of the cante jondo (deep song), the collection of poetry marked a turning point in Lorca’s writing. When Federico García Lorca was 23, he wrote Poema del Cante Jondo, a book of poems that would make him famous throughout all of Spain, and later, the world. Write on various themes and portrays the big names of art and culture in Brazil and mundial.Colabora sites, blogs, newspapers and magazines.“El andaluz o grita a las estrellas o besa el polvo rojizo de sus caminos.” Author of 11livros and several baler twine. (*) Baiano, poet, cordelista, professor, columnist, literary journalist, actor and researcher. La Doncela, El Marinero and El Estudiante Cordel to Federico García Lorca, by Gustavo Dourado