Bøker av Federico Garcia Lorca

Lorca's poetry is steeped in the land and folklore of his native Andalusia, and he evokes a world of intense feelings. This selection balances his early poems with better-known later work to give a clear vision of his poetic development, in excellent translations and with an astute Introduction.

Includes the plays "The House of Bernarda Alba", "Yerma", and "Blood Wedding". These plays appeal for freedom and sexual and social equality.

First published in 1928, Federico García Lorca's collection of Gypsy Ballads (Romancero gitano) marked his first major publication, and the beginning of his rise to fame. Depicting life in his native Andalucía, and the Romany peoples who lived there, it takes motifs of the countryside into its view, describing the night, the sky and the moon alongside more universal themes like life and death. Written in a stylised version of the countryside ballads that proliferated at the time, the Gypsy Ballads propelled Lorca to overnight fame, and he soon became counted amongst Spain's finest poets. Later in his career his name became synonymous with the theatre, but this new edition of the Gypsy Ballads returns the reader to where it all began. Presented here in a smart new translation, this edition is the perfect place to discover Lorca the Poet.

You bring such scandal to my house.In the domain of Bernarda Alba, a daughter who disobeys is no longer a daughter. Forced to live under their mother's tight grip as they mourn their father's death, can five sisters survive when young Adela dares for passion and freedom?Olivier Award-winner Harriet Walter (Succession) plays the formidable matriarch, guarding her reputation against the rising tide of her family's desires in this pitch-black drama exploring the consequences of oppressing women, in Alice Birch's radical new version of Federico García Lorca's modern masterpiece.This edition published to coincide with the world premiere at the National Theatre, London, in November 2023.

SÍMBOLOCristo tenía un espejo en cada mano. Multiplicaba su propio espectro. Proyectaba su corazón en las miradas negras. ¡Creo!EL GRAN ESPEJOVivimos bajo el gran espejo. ¡El hombre es azul! ¡Hosanna!REFLEJODoña Luna. (¿Se ha roto el azogue?) No. ¿Qué muchacho ha encendido su linterna? Sólo una mariposa basta para apagarte. Calla... ¡pero es posible! ¡Aquella luciérnaga es la luna!RAYOSTodo es abanico. Hermano, abre los brazos. Dios es el punto.

MOSQUITO. ¡Hombres y mujeres! Atención. Niño, cierra esa boquita, y tú, muchacha, siéntate con cien mil de a caballo. Callad, para que el silencio se quede más clarito, como si estuviese en su misma fuente. Callad para que se asiente el barrillo de las últimas conversaciones. (Tambor.) Yo y mi compañía venimos del teatro de los burgueses, del teatro de los condeses y de los marqueses, un teatro de oro y cristales, donde los hombres van a dormirse y las señoras... a dormirse también. Yo y mi compañía estábamos encerrados. No os podéis imaginar qué pena teníamos. Pero un día vi por el agujerito de la puerta una estrella que temblaba como una fresca violeta de luz. Abrí mi ojo todo to que pude -me lo quería cerrar el dedo del viento- y bajo la estrella, un ancho río sonreía surcado por lentas barcas. Entonces yo avisé a mis amigos, y huimos por esos campos en busca de la gente sencilla, para mostrarles las cosas, las cosillas y las cositillas del mundo; bajo la luna verde de las montañas, bajo la luna rosa de las playas. Ahora que sale la luna y las luciérnagas huyen lentamente a sus cuevecitas, va a dar comienzo la gran función titulada Tragicomedia de don Cristóbal y la señá Rosita... Preparaos a sufrir el genio del puñeterillo Cristóbal y a llorar las ternezas de la señá Rosita que, a más de mujer, es una avefría sobre la charca, una delicada pajarita de las nieves. ¡A empezar! (Hace mutis, pero vuelve corriendo.) Y ahora... ¡viento!: abanica tanto rostro asombrado, llévate los suspiros por encima de aquella sierra y limpia las lágrimas nuevas en los ojos de las niñas sin novio.

Pero, ¿qué voy a decir yo de la Poesía? ¿Qué voy a decir de esas nubes, de ese cielo? Mirar, mirar, mirarlas, mirarle y nada más. Comprenderás que un poeta no puede decir nada de la Poesía. Eso déjaselo a los críticos y profesores. Pero ni tú ni yo ni ningún poeta sabemos lo que es la Poesía. Aquí está: mira. Yo tengo el fuego en mis manos. Yo lo entiendo y trabajo con él perfectamente, pero no puedo hablar de él sin literatura. Yo comprendo todas las poéticas; podría hablar de ellas si no cambiara de opinión cada cinco minutos. No sé. Puede que algún día me guste la poesía mala muchísimo, como me gusta (nos gusta) hoy la música mala con locura. Quemaré el Partenón por la noche para empezar a levantarlo por la mañana y no terminarlo nunca. En mis conferencias he hablado a veces de la Poesía, pero de lo único que no puedo hablar es de mi poesía. Y no porque sea un inconsciente de lo que hago. Al contrario, si es verdad que soy poeta por la gracia de Dios -o del demonio-, también lo es que lo soy por la gracia de la técnica y del esfuerzo, y de darme cuenta en absoluto de lo que es un poema.

Amigo lector: si lees entero este libro, notarás en él una cierta vaguedad y una cierta melancolía. Verás cómo pasan cosas y cosas siempre retratadas con amargura, interpretadas con tristeza. Todas las escenas que desfilan por estas páginas son una interpretación de recuerdos, de paisajes, de figuras. Quizá no asome la realidad su cabeza nevada, pero en los estados pasionales internos la fantasía derrama su fuego espiritual sobre la naturaleza exterior agrandando las cosas pequeñas, dignificando las fealdades como hace la luna llena al invadir los campos. Hay en nuestra alma algo que sobrepuja a todo lo existente. En la mayor parte de las horas este algo está dormido; pero cuando recordamos o sufrimos una amable lejanía se despierta, y al abarcar los paisajes los hace parte de nuestra personalidad. Por eso todos vemos las cosas de una manera distinta. Nuestros sentimientos son de más elevación que el alma de los colores y las músicas, pero casi en ningún hombre se despiertan para tender sus alas enormes y abarcar sus maravillas. La poesía existe en todas las cosas, en lo feo, en lo hermoso, en lo repugnante; lo difícil es saberla descubrir, despertar los lagos profundos del alma. Lo admirable de un espíritu está en recibir una emoción e interpretarla de muchas maneras, todas distintas y contrarias. Y pasar por el mundo, para que cuando hayamos llegado a la puerta de la "ruta solitaria" podamos apurar la copa de todas las emociones existentes, virtud, pecado, pureza, negrura.

"For years, Federico Garcâia Lorca's lecture on duende has been a source of insight for writers and performers, including Ted Hughes, Nick Cave, Patti Smith, and Amanda Gorman. Duende: Play and Theory not only provides a path into Lorca's poetics and the arts of Spain; it is one of the strangest, most compelling accounts of inspiration ever offered by a poet. Contrasting the demon called duende with the Angel and the Muse, Lorca describes a mysterious telluric, diabolical current, an irreducible "it," that can draw the best from both performer and audience. This new translation by Christopher Maurer, based on a thoroughly revised edition of the Spanish original of 1933, also included in this volume, offers a more accurate and fully annotated version of the lecture, with an introduction by eminent philologist Josâe Javier Leâon. Drawing on a deep knowledge of flamenco, and correcting decades of discussion about duende and its supposed origins in Spanish folklore and popular speech, Leâon shows to what extent the concept of duende - understood as the imp of artistic inspiration - was the playful, yet deadly serious, invention of Lorca himself. Lorca's bravura performance of duende is foreshadowed here with a bilingual version - the most complete ever - of his other major text on inspiration, "Imagination, Inspiration, Evasion," in which he calls for greater freedom in poetry as if searching for duende and its "constant baptism of newly created things.""--

A cherished erotic play by Federico García Lorca, illustrated by a major Spanish artist.   Painting, poetry, and music come together in Zóbel Reads Lorca, as Fernando Zóbel, a Harvard student who would become one of Spain‿s most famous painters, translates and illustrates Federico García Lorca‿s haunting play about the wounds of love.   The premiere of Amor de Don Perlimplín con Belisa en su jardín, an “erotic allelujiaâ€? which Lorca once called his most cherished play, was shut down in 1928 by Spanish government censors who confiscated the manuscript and locked it away in the pornography section of a state archive. Lorca rewrote the work in New York, and an amateur theater group brought it to the Spanish stage a few years later. Since his death, the play has also been transformed into ballet and opera.  Zóbel Reads Lorca presents Zóbel‿s previously unpublished translation and features contextual essays from several scholars. Art historian Felipe Pereda studies Lorca in the context of Zóbel‿s development as a painter, Luis Fernández Cifuentes describes the precarious and much-debated state of the humanities in Zóbel‿s Harvard and throughout the United States in the 1940s, and Christopher Maurer delves into musical and visual aspects of the play‿s American productions. Â

Excerpt from Yerma: Poema Trágico en Tres Actos y Seis Cuadros No lo tomes a mal. Si yo estuviera enferma me gus taria que tú me cuidases. Mi mujer está enferma. Voy a matar este cordero para hacerle un buen guiso de carne. Mi mujer está enferma. Voy a guardar esta enjundia de gallina para aliviar su pecho, voy a llevarle esta piel de oveja para guardar sus pies de la nieve. Así soy yo. Por eso te cuido. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"Gypsy Romances & Poem of the Deep Song will be the first book in English devoted entirely to Lorca's two collections of Gypsy-inspired verse. Gypsy Romances (Romancero Gitano) is, of course, by far the world's best-known book of Spanish poetry. Less known but equally entrancing is Lorca's tribute to Flamenco: Poem of the Deep Song (Poema del Cante Jondo). This celebration of Spain's quintessential music is as fragrant as Manuel de Falla's Nights in the Gardens of Spain or Debussy's Espaäna. Trained as a classical pianist, Lorca's first love and lifelong passion was music. This version, by a prize-winning poet and translator who is also an orchestral musician and composer, captures as never before the music of Garcâia Lorca's verse"--

This bilingual edition was the first to include Lorca's last poems, the previously lost Sonnets of Dark Love. It covers the full range of his poetry, from the early poems and gypsy ballads to the agitated Poet in New York and Arab-influenced gacelas and casidas. Also included is the Lament for Sanchez Mejias and his famous lecture on the Duende.

Newly repackaged, three plays by Federico García LorcaIn 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.

For the first time in a quarter century, a major new volume of translations of the beloved poetry of Federico García Lorca, presented in a beautiful bilingual editionThe fluid and mesmeric lines of these new translations by the award-winning poet Sarah Arvio bring us closer than ever to the talismanic perfection of the great García Lorca. Poet in Spain invokes the "wild, innate, local surrealism" of the Spanish voice, in moonlit poems of love and death set among poplars, rivers, low hills, and high sierras. Arvio's ample and rhythmically rich offering includes, among other essential works, the folkloric yet modernist Gypsy Ballads, the plaintive flamenco Poem of the Cante Jondo, and the turbulent and beautiful Dark Love Sonnets-addressed to Lorca's homosexual lover-which Lorca was revising at the time of his brutal political murder by Fascist forces in the early days of the Spanish Civil War. Here, too, are several lyrics translated into English for the first time and the play Blood Wedding-also a great tragic poem. Arvio has created a fresh voice for Lorca in English, full of urgency, pathos, and lyricism-showing the poet's work has grown only more beautiful with the passage of time.

Lorca's Blood Wedding is a classic of twentieth-century theatre. Lorca uses it to investigate the subjects which fascinated him: desire, repression, ritual, and the constraints and commitments of the rural Spanish community in which the play is rooted.

Federiko García Lorca [federíko garsía lórka], naskita en 1898 kaj murdita en 1936 de hispanaj faŝistoj, provizis la mondliteraturon per aparte belaj kaj insistaj impresoj trafluataj de lia hejma Andaluzio. Jen pli ampleksa reeldono de la broŝuro aperinta en la jaro 1968 en Moskvo.