The Lorquiano Theater and the historical context of Yerma
Introduction
I have a theater concept in a certain personal and resistant way. Theater is the poetry that rises from the book and becomes human. And when doing, speaking and shouts, cries and despairs. The theater needs the characters that appear on the scene carry a poetry suit and at the same time that the bones are seen, the blood. They must be so human, so horrificly tragic and linked to life and up to date with such a force, that their betrayals show, that their smells are appreciated.
Developing
The characteristics of the Theater of Lorca:
Various theatrical traditions: Rural drama, Classical Theater of Lope de Vega or Calderón, popular forms such as puppet theater, Greek tragedies or Shakespeare, avant -garde theater.
His theater is a poetic theater, full of lyricism, symbols and songs.
Didactic idea of the most social and popular theater.
Great variety of genres: the farce, the theater of Guiñol, the symbolist drama, the surreal theater, the tragedy, the urban or rural drama.
His first two works are written totally in verse.
Poetic language where avant -garde (metaphors, symbols) and tradition (symbols and popular expressions, emotional lexicon) coexist).
The central theme of all its theater is: the struggle between a principle of authority, oppressor, and a principle of freedom, of rebellion.
Theater
Lorca’s theatrical production is part of the prewar renewal theater. The theatrical panorama of the first third of the twentieth century in Spain can be summarized in several trends: the modernist poetic theater (it collects the themes of the theater of the Golden Age and in terms of the form predominates the romantic tone, with authors such as Francisco Villaespesa and Eduardo Marquina);The comic theater (with stereotyped characters and works in which the comic predominates, which highlights the brothers Álvarez Quintero or Carlos Arniches);The traditional comedy (focused on characters from the bourgeoisie, with their conflicts and everyday problems, whose main representative was Jacinto Benavente) and, finally, the renovating theater, cultivated by Ramón del Valle-Inclán and Federico García Lorca.
In 1932 he founded the La Barraca University Theater, with which he travels through the peoples of Spain representing the classic authors. Subsequently, he travels to some Latin American countries in which their plays are great. He was arrested and shot in 1936, at the beginning of the Civil War. As theater author, Lorca wrote theater from a young age, although he dedicated himself to him more intensely in his last years. We can highlight several stages:
Youth era, in which the butterfly cursus writes, released in 1920, of symbolist spirit, in which the love frustration and Mariana Pineda, written in 1925 and premiered two years later, with which the drama in verse in verse in verse revitalizes.
Popular and Children.
Loving theme works: in them Lorca deals one of the main themes of their works, loving frustration, although they still do not have tragic features such as in their posterior pieces.
The prodigious shoemaker stands out, which retouched several times between 1926 and 1933, love of Don Perlimplín with Belisa in his garden and Doña Rosita la single or the language of the flowers.
Impossible comedies: in this group a set of theatrical works that relate to their personal crisis and their encounter with surrealism, as also happened in his poetic poet work in New York.
Among its dramatic pieces we will cite the public, in which the accusation underlies the people who show their hypocrisy and insensitivity towards those who pursued an impossible love in the society of the time, or so that five years pass (1931), work of struggleInterior and intimate frustration.
Works of strong tragic content: they suppose the culmination of their theatrical production.
conclusion
Written between 1932 and 1936. They join the local and the universal and pose universal conflicts, hence their timeless success. They are blood weddings, based on a real event: the girlfriend who escapes with his lover on wedding day, they oppose love and death, oppression and freedom;Yerma, which as indicated by its title, is the tragedy of women who cannot have children and in which universal issues (oppression / freedom, individual / society) are also raised;Bernarda Alba’s house, a work that concerns us in this comment. Bernarda Alba’s house is usually included in the trilogy formed by this work along with blood and yerma weddings. However, there are some features that separate it from those.
Thus, the work subtitles women’s drama in the villages of Spain and not tragedy, because the mythical elements are absent. In addition, language realism also has drama features, in the face of the poetic tone and symbolist of Blood and Yerma Weddings. However, it also shares some elements with the two works, especially in the prominence of the woman and the fact of transcending the issues raised and rising at a higher level, timeless.
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The Lorquiano Theater And The Historical Context Of Yerma
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The Lorquiano Theater and the historical context of Yerma
Introduction
I have a theater concept in a certain personal and resistant way. Theater is the poetry that rises from the book and becomes human. And when doing, speaking and shouts, cries and despairs. The theater needs the characters that appear on the scene carry a poetry suit and at the same time that the bones are seen, the blood. They must be so human, so horrificly tragic and linked to life and up to date with such a force, that their betrayals show, that their smells are appreciated.
Developing
The characteristics of the Theater of Lorca:
Theater
Lorca’s theatrical production is part of the prewar renewal theater. The theatrical panorama of the first third of the twentieth century in Spain can be summarized in several trends: the modernist poetic theater (it collects the themes of the theater of the Golden Age and in terms of the form predominates the romantic tone, with authors such as Francisco Villaespesa and Eduardo Marquina);The comic theater (with stereotyped characters and works in which the comic predominates, which highlights the brothers Álvarez Quintero or Carlos Arniches);The traditional comedy (focused on characters from the bourgeoisie, with their conflicts and everyday problems, whose main representative was Jacinto Benavente) and, finally, the renovating theater, cultivated by Ramón del Valle-Inclán and Federico García Lorca.
In 1932 he founded the La Barraca University Theater, with which he travels through the peoples of Spain representing the classic authors. Subsequently, he travels to some Latin American countries in which their plays are great. He was arrested and shot in 1936, at the beginning of the Civil War. As theater author, Lorca wrote theater from a young age, although he dedicated himself to him more intensely in his last years. We can highlight several stages:
The prodigious shoemaker stands out, which retouched several times between 1926 and 1933, love of Don Perlimplín with Belisa in his garden and Doña Rosita la single or the language of the flowers.
Among its dramatic pieces we will cite the public, in which the accusation underlies the people who show their hypocrisy and insensitivity towards those who pursued an impossible love in the society of the time, or so that five years pass (1931), work of struggleInterior and intimate frustration.
conclusion
Written between 1932 and 1936. They join the local and the universal and pose universal conflicts, hence their timeless success. They are blood weddings, based on a real event: the girlfriend who escapes with his lover on wedding day, they oppose love and death, oppression and freedom;Yerma, which as indicated by its title, is the tragedy of women who cannot have children and in which universal issues (oppression / freedom, individual / society) are also raised;Bernarda Alba’s house, a work that concerns us in this comment. Bernarda Alba’s house is usually included in the trilogy formed by this work along with blood and yerma weddings. However, there are some features that separate it from those.
Thus, the work subtitles women’s drama in the villages of Spain and not tragedy, because the mythical elements are absent. In addition, language realism also has drama features, in the face of the poetic tone and symbolist of Blood and Yerma Weddings. However, it also shares some elements with the two works, especially in the prominence of the woman and the fact of transcending the issues raised and rising at a higher level, timeless.
Free The Lorquiano Theater And The Historical Context Of Yerma Essay Sample
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