Herman, Alexandr. Lirical elements in Lorca´s theatre - Bloody wedding. České Budějovice: Pedagogická fakulta Jihočeské univerzity v Českých Budějovicích, 2011, 103 s., Diploma thesis. This diploma thesis presents lyrical elements in teatral work of Federico García Lorca. Author himself belogs among top members of an avantgarde movement in Spain. His dramas are up to now very often shown at the most prestigious theatre house in the world, his poetry, very often explained in new interpretation, absorbing an echoe of the folk lyric. The author was bor in the year 1898, year that ment withdrawal from its ancient position. This new situation is reflected at a new actitude towards an art and Spain. This work is divided into three parts.

The topic of my thesis is a play Mariana Pined, written by F.G. Lorca, the most signif-icant Spanish dramatist and poet of the 20th century. My thesis is divided into two main parts. The first theoretically historic part briefly introduces author's live and surroundings that strongly influenced his work and his motivation for writing dramas. This part also shortly summarises the historical and political background in context with its direct influence on his work. In addition, I would like to outline the situation, which became the foundation for story development of the main character, historical figure Mariana Pined and her faith, not dissimilar to the faith of the author. The second part of my thesis focuses on the revelation and description of the psy-chological profile of the individual characters with regards to their meaning in the plot, their motivation and analysis of names and presented symbols. I briefly sketch the plot of the drama and breakdown some situations and their consequences. Subsequently I come to my own concept of colours, shapes, costume designs and the atmosphere. Eventually I attach varieties of visual propositions of the costume solution, its development with respect to the storyline, its transformation and I would like to bring attention to the importance and necessity of costumes in the overall viewer's experience.

Tese (Doutorado) – Instituto de Artes da Universidade de Brasília, Programa de Pós-Graduação em Arte, 2014. / Submitted by Tania Milca Carvalho Malheiros (tania@bce.unb.br) on 2016-02-29T15:36:41Z No. of bitstreams: 1 2014_GiseleCristinaRosadosSantos_Parcial.pdf: 167888 bytes, checksum: b3504d8ff67a14a06e926a33621dd536 (MD5) / Rejected by Raquel Viana(raquelviana@bce.unb.br), reason: Boa noite, O arquivo descrito não consta na rede. Atenciosamente, Raquel Viana on 2016-02-29T21:49:20Z (GMT) / Submitted by Tania Milca Carvalho Malheiros (tania@bce.unb.br) on 2016-03-10T13:48:18Z No. of bitstreams: 1 2014_GiseleCristinaRosadosSantos_Parcial.pdf: 167888 bytes, checksum: b3504d8ff67a14a06e926a33621dd536 (MD5) / Approved for entry into archive by Patrícia Nunes da Silva(patricia@bce.unb.br) on 2016-03-10T14:13:39Z (GMT) No. of bitstreams: 1 2014_GiseleCristinaRosadosSantos_Parcial.pdf: 167888 bytes, checksum: b3504d8ff67a14a06e926a33621dd536 (MD5) / Made available in DSpace on 2016-03-10T14:13:39Z (GMT). No. of bitstreams: 1 2014_GiseleCristinaRosadosSantos_Parcial.pdf: 167888 bytes, checksum: b3504d8ff67a14a06e926a33621dd536 (MD5) / Esse doutoramento propõe um olhar subjetivo a respeito dos textos dramatúrgicos Mariana Pineda, Yerma, Bodas de Sangue e A Casa de Bernarda Alba, da coletânea Impresiones y Paisajese da conferênciaJuego y teoríadel duende, de autoria do poeta-dramaturgo espanhol Federico Garcia Lorca (1898-1936), à luz do conceito de Geopoética, do autor escocês Kenneth White. A Geopoética é uma teoria transdisciplinar que versa a respeito da relação do homem com a Terra. Pela perspectiva desse olhar, pretendo verificar a existência e a convergência de elementos geopoéticos nos textos supracitados, e buscar uma compreensão mais ampla a respeito da relação do poeta-dramaturgo com o contexto geográfico espanhol pelo viés da sua dramaturgia. O corpus dessa pesquisa foi estabelecido pelo desafio de experimentar a teoria supracitada de modo a criar um campo de diálogo interdisciplinar que privilegia as linguagens cênica, dramatúrgica, poética, geográfica e científica, a partir do teatro contemporâneo. Os traços culturais universais, o olhar sobre o espaço e a paisagem, e a valoração simbólica destes, excedem as marcas do tempo e podem corroborar tais elementos na escrita de F. G. Lorca antes mesmo do surgimento desse conceito. Desse modo, configura-se a pedra angular desse doutoramento pelo viés da afluência de saberes do teatro e da geografia, da dramaturgia e da geopoética para construção / transmissão de conhecimento por meio de uma linguagem artística. Esse doutoramento segue o movimento contemporâneo de investigação científica que conecta as disciplinas Arte e Literatura à Geografia, e visa abrir outro horizonte de diálogo interdisciplinar ao aliar os princípios da Geopoética à Dramaturgia. / This PhD thesis proposes a subjective perspective of view about Federico García Lorca’s plays Mariana Pineda, Yerma, Blood Wedding and The House of Bernarda Alba, his collection Impresiones y Paysajes, and his conference Juego y teoríadelduende, according to the concept of Geopoetics, elaborated by Kenneth White. Geopoetics is a transdisciplinarytheory about the relationshipbetweenhumankind andthe planet Earth. From the perspective of this view, I intend to verify the existence and convergence of elements of geopoetics in Lorca’s literary texts, and seek a broader understanding about the poet-playwright connection with the Spanish territory. Thecorpusof this researchwas established aimingto experience with the aforementioned theoryto createa field of dialog that privilegesscenic, theatrical, poetic, geographicand scientificlanguages.Some aspects of Lorca’s texts like universalcultural traits, the way he used to observe thespace andthe landscape, and used to value its symbology, exceeded the marks of time. Furthermore, the mentioned aspects reveal the characteristicsof geopoetics in Lorca’s texts, beforeK.Whiteelaborate this concept. Thus, the cornerstoneof thisPhD thesis is setatthe confluenceof knowledgeof theater andgeography, dramaturgy and geopoeticsforconstruction /transmission ofknowledge throughan artistic language.This thesisfollows thecontemporarydynamics ofscientific researchesthat connectsArt and Literature toGeography,and aims to open another horizon of interdisciplinary dialogue by combining the Geopoetics with Dramaturgy.

This thesis studies the elegy that Federico Garcíia Lorca wrote to commemorate the death of his friend Ignacio Sánchez Mejías, fatally gored in mid-August 1934. Because the poem celebrates an historical event attention is first directed to the life of Ignacio and to the details of his fatal injury and its repercussions. Because some of these details have heen incorporated into the poem there follows a commentary on the poem which seeks to explain these references, as well as some of the images and metaphors. Some lines lack a convincing explanation but their obscurity does not hinder to any great extent an overall comprehension of the poem. The second part of the study looks at the history of the Spanish Elegy, tracing its formation and development from the eleventh-century 'Planctus' to the form used by Lorca. It is in the final chapter that Lorca's debt to history and tradition is assessed, at the same time pointing out that the poem, although based on an historical event and drawing from a long tradition of the Elegy, is very much an example of the work of a sophisticated and talented twentieth-century poet. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

The traditional cante jondo is a song unique to Andalusia as it developed from the "mosaic" of cultures that have inhabited its borders, including Arabs, Jews and Gypsies. The genre expresses the history of the region, reveals the typography of the landscape and cries the tears of its people. "Deep song," the translation for cante jondo, is the forerunner of the flamenco, but it is a communication of a dark soul rather than an exuberant entertainment. The original folk idiom is a medium less concerned with beauty than the cathartic release of pain of every day life. It expresses the soul of Andalusia. This study explores the history and the poetic and musical forms Andalusian cante jondo as the inspiration for the poetry of Federico Garcia Lorca set by Elisenda Fabregas in the song cycle, Five Poems of Garcia Lorca (1992). Lorca felt the validity of "deep song" and he was disturbed that it was being corrupted by commercialism and was afraid it would be lost to posterity. His goal was to preserve the essence of the song and lift it to an artistic plain. He saw folk music as the core of the national musical and literary identity in Germany, France and Russia and worked to establish Spain as an artistic equal. Lorca's writings were not imitations of the traditional cante jondo. They echoed the history, the landscape and the tears, but they did so through symbolism and vivid imagery. The poet communicated on several levels, one as a voice of Andalusia, Spain and ultimately mankind and another with his own private message. His life was short, but his legacy is long. Fabregas, like Lorca, has taken a folk medium and expanded it beyond its original boundaries. Being of Spanish heritage, but not Andalusian, she is less committed to the local musical constraints. She felt the humanity in Lorca's poetic cries and expressed them through her own language. As a result her songs are intensely dramatic and are exciting pieces to perform.

The literary lecture is a subgenre of the traditional academic lecture that combines literary and metaliterary analysis, artistic self-fashioning, and public performance. This study considers the literary lectures of five writers as a sampling of a major transformation in this genre in Spain between 1900 and 1926. Ramón del Valle-Inclán, Ramón Gómez de la Serna, José Ortega y Gasset, Federico García Sanchiz, and Federico García Lorca have been chosen for their representation of a range of literary generations, cultural backgrounds, and socio-political beliefs, and for what their innovative practices of lecturing reveal about the mechanics of this reinvented genre. These five case studies demonstrate that the literary lecture is a complex literary genre that exists in a liminal state between the spoken and the written, reality and fiction, and the public persona and the internal self. Furthermore, these changes come at a time when audience composition was beginning to skew heavily toward the rising middle and upper-middle classes, and especially toward women. Ultimately, the transformation of the lecture from 1900-1926 in Spain is seen as the product of the appropriation of a traditionally academic, essay-like genre for both artistic and educational purposes and for satisfying the desires of middle-class consumer culture. Finally, this dissertation explores for the first time the implications of editorial treatments of the lecture: the classificatory anxieties of editors in the passage of the lecture from stage to page, exemplified in the treatment of the lecture as written text in the Obras completas of Federico García Lorca.

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Cette etude porte sur la difficulte de la traduction culturelle et plus specifiquement sur celle de la poesie. On etudiera les problemes intrinseques de la traduction de ce type de litterature en meme temps que les insuffisances des theories traductologiques contemporaines face a ces problemes. A cette fin, on analysera la traduction du poeme «Romance sonambulo» de Federico García Lorca par Stephen Spender et Joan Lluis Gili. / Thesis / Master of Arts (MA)

In this thesis, I take the reader through the process and particular challenges of directing The House of Bernarda Alba, from choosing a translation, to casting from a pool of mostly undergraduate actors, to staging a show in-the-round. More particularly, I compare my previous work with adaptation to this process of treating the script as a fixed entity. I also offer a detailed explanation of the exploratory work I did with the actors in building the physicality of the play-world and exploring the relationships of the characters. For this, I drew heavily on Anne Bogart’s composition exercises, found in The Viewpoints Book. In this thesis, I transcribe and analyze some of the material generated through these exercises. Finally, I endeavor to prove that a certain freedom can be found through structure, and that the challenge of this production - which was assigned to me rather than a personal choice - helped me develop a more subtle creative voice than I had previously possessed.