Carlos G. Santa Cecilia, “La insoportable levedad de Federico,”
El País
(Madrid) August 19, 1986, x-xi;
G, II
, 128–29.
“Emilio Aladrén Perojo”:
Emilio Aladrén to FGL (August 30, 1930), AFFGL.
“absolutely pre-revolutionary”:
Pedro Salinas / Jorge Guillén, 122.
Shoemaker’s Wife
opens:
Fernández Cimentes, 98; FGL,
La zapatera
, 192.
“compensate”:
EC
, 701n.
“real work”:
“Antes del estreno. Hablando con FGL,”
La Libertad
(Madrid) December 24, 1930, 9.
Francisco García Lorca attends
Shoemaker’s Wife:
Francisco García Lorca, introduction to FGL,
Five Plays
, 15.
“share the anxiety”:
“Antes del estreno. Hablando con Federico García Lorca,”
La Libertad
(Madrid), December 24, 1930, 9.
The Shoemaker’s Wife:
Passages from this play are taken from OC, II, 191–237.
“violent” and “vulgar”:
FGL,
La zapatera
, 48.
FGL collects folk sayings:
Auclair, 263; Rodrigo,
Memoria
, 60; Altolaguirre, “Recuerdos,” 603.
“Ask a duchess”:
Auclair, 171.
“a simple farce”:
La Nación
(Buenos Aires) November 30, 1933, 11, in OC, III, 471.
“dramatic material … for later”:
Crítica (Buenos Aires), December 1, 19–13, in OC, III, 477.
“grotesque”:
“Una interesante iniciativa,”
El Sol
(Madrid), April 5, 1933, in OC, III, 407–10.
“malice and bad will”:
EC, 355.
“the voice of conscience” and “indispensable”:
“Antes del estreno. Hablando con Federico García Lorca,”
La Libertad
(Madrid), December 24, 1930, 9, in OC, III, 374.
Autobiographical elements in
Shoemaker’s Wife:
FM
, 46; Hernández, introduction to FGL,
La zapatera
, 15.
FGL adds prologue:
Hernández, introduction to FGL,
La zapatera
, 29–36; Anderson,
Garcia Lorca: La zapatera prodigiosa
, 13.
FGL performs prologue:
During the first performances of
The Shoemaker’s Prodigious Wife in Madrid
, Xirgu’s company presented a brief Chinese legend as a prelude to FGL’s play. In January 1931, the Chinese legend was dropped in exchange for Calderón’s auto sacramental,
The Grand Theater of the World
(Anderson,
García Lorca. La zapatera prodigiosa
, 64).
Critical response to
Shoemaker’s Wife:
For general discussion of critical response see Anderson,
Garcia Lorca: La zapatera prodigiosa
, 14, and Fernández Cifuentes, 98.
“simple, entertaining”:
Pedro Salinas / Jorge Guillén, 124.
“the struggle between” and “a compendium”:
La Nación
(Buenos Aires), November 30, 1933, 11, in OC, III, 472–73.
Xirgu closes
Shoemaker’s Wife:
See
G, II
, 131, and María Francisca Vilches de Frutos and Dru Dougherty,
Los estrenos teatrales de Federico García Lorca
[1920–45] (Madrid: Tabapress, Fundación Federico García Lorca], 1992, 65.
“I don’t know”:
Salvador Dalí escribe a Federico García Lorca
, 95. For FGL’s response see Ontañón and Moreiro,
Unos pocos amigos
, 158.
17. Republic: 1931
“republic based on national sovereignty”:
Díaz-Plaja, 180.
“writers and artists … republic”:
El Sol
(Madrid), February 10, 1931, in Díaz-Plaja, 197–98.
“rumors … about each other”:
Pedro Salinas / Jorge Guillén, 130–31.
“They’re preoccupied”:
Morla Lynch, 45.
Gatherings at Morla Lynch home:
Escobar, 84; Morla Lynch, 51–61, 118–19, 290, 319; Auclair, 165–69; Martínez Nadal,
Federico García Lorca. Mi penúltimo libro
, 68; author interview with Veronica Morla; correspondence from Veronica Morla to author (July 18, 1985).
“Your mother … already started”:
Carlos Morla Lynch to FGL (July 30, 1931), AFFGL.
“volcano”:
Morla Lynch, 48.
FGL and brother:
Fernández-Montesinos, xi; Escobar, 83; Andrés Ruiz Tarazona, “La generación musical del 27 y Federico,”
Primer Acto
205 (September-October 1984), 19; Morla Lynch, 165;
G, II
, 153.
“We were doing”:
Emilio Garrigues Díaz-Cañabate, “Al teatro con Federico García Lorca,”
Cuadernos Hispanoamericanos
340 (Madrid, October 1978), 106–7.
“always off somewhere”:
Pedro Salinas / Jorge Guillén, 133.
“an absurd Charlus … minors?”:
Jorge Guillén to Germaine Guillén (August 3, 1934), papers of Jorge Guillén, Wellesley College Archive.
“I’m just crazy”:
Escobar, 84.
FGL’s behavior at Morla Lynch home:
Morla Lynch, 118–19, 128–29, 143–44; Salinas, “Federico García Lorca”; On FGL’s fondness for Morla’s bathroom, see EC, 718.
“a glass, a pencil holder”:
Ernesto Guerra Da Cal, “Federico García Lorca en el recuerdo,”
Punto y Coma
11 (Madrid, winter 1988–89), 50–54.
“chorpatélico”:
Altolaguirre,
Obras completas
I,
Estudios literarios
, 282.
“pimpavonillas
… typical of Federico”:
Salinas, “Federico García Lorca.”
Morla Lynch’s diary:
Auclair, 96, 164–65; Morla Lynch, 159–60; Ontañón and Moreiro, 117–18; author interview with Veronica Morla; correspondence from Veronica Morla to author (July 18, 1985).
FGL discusses death with Morla Lynch:
Morla Lynch, 158–60.
“These months”:
Pedro Salinas / Jorge Guillén, 134.
April 12 elections:
For FGL’s activities on April 12, see Morla Lynch, 54; Rivas Cherif, January 6, 1957; Francisco Vega Diaz, “Una anécdota del poeta en la calle,”
El Pais
(Madrid), June 5, 1980; Luis Lacasa, “Recuerdo y trayectoria de Federico García Lorca,”
Literatura soviética
(Moscow, 1946), 41; Auclair, 228.
Republic declared:
Thomas, 39–41; Jackson, 7, 24–26; Josep Pla,
Madrid-El advenimiento de la República
(Madrid: Alianza, 1986), 13–27; Alberti,
La arboleda
, 311–12; Díaz-Plaja, 217;
“Federico—1931—republican April”:
FGL,
Dibujos
, 206.
First weeks of republic:
Thomas, 42; Jackson, 28; Byrd, 17; Auclair, 230; Díaz-Plaja, 246–47. For Cardinal Segura’s letter see Thomas, 50, citing
>
El Sol
(Madrid), May 7, 1931. On FGL and the convent school, see V.S., “Estudiantes de la F.U.E. se echarán a los caminos con ‘La Barraca’”
El Sol
(Madrid), December 2, 1931, 1, in OC, III, 381–82; Gregorio Prieto,
Lorca en color
(Madrid: Editora Nacional, 1969), 54.
“economic position” and “all my things … All the publishers”:
EC
, 694–95.
FGL makes recording with La Argentinita:
EC
,
695;
Pedro Vaquero Sánchez, “‘La Argentinita,’ García Lorca y las canciones populares antiguas,” liner notes,
Colección de Canciones Populares Españoles
, FGL piano, La Argentinita voz (Madrid: Sonifolk, 1990, J-105; Mario Hernández, introduction FGL,
Primeras canciones
, 37–38, 229; FM, 33; Adolfo Salazar, “Discos,”
El Sol
(Madrid), November 27, 1931; Pedro Massa, “Fiesta de arte. Federico García Lorca, el romancillo popular y ‘La Argentinita’”
Crónica
(Madrid), March 20, 1932; Federico de Onís, “La Argentinita,”
Revista Hispánica Moderna
(January-April 1946), 183.
“at all hours”:
EC
, 711.
FGL publishes
Poem of the Deep Song:
Rafael Martínez Nadal, introduction to FGL,
Autógrafos
I, xiii-xv, 25 m; Mario Hernández,
Cronología
, in FGL,
Poema del cante jondo
, 191–203. On advertising for the book, see
El Sol
(Madrid), June 18, 1931, 2. For prefatory note to collection, see FGL,
Poesía
I, ed. Miguel García-Posada, 2nd ed. (Madrid: Akal, 1982), 598–99.
FGL friendship with Martínez Nadal:
Vicenta Lorca to FGL (n.d.), AFFGL; Morla Lynch, 81, 228; Martínez Nadal,
Cuatro lecciones
, 24; Auclair, 168–69; Martínez Nadal,
Federico García Lorca: Mi penúltimo libro
, 200, 275, 298–99; Rafael Martínez Nadal to FGL (n.d.), AFFGL.
Critical response to
Deep Song:
Azorín, “Los cuatro dones,”
Crisol
(Madrid), July 2, 1931; Sebastian Gasch, “Un libre de García Lorca,
Poema del cante jondo,” Mirador
(Barcelona), August 20, 1931, 6; Agustín Espinosa, “Escaparate de Libros,”
La Gaceta Literaria
111 (Madrid), August 1, 1931, 14.
“intense attacks … myrtles”:
EC
, 712.
“frozen … on its surface”:
EC
, 715.
FGL’s niece Vicenta:
EC
, 695, 700–2, 719; Rodrigo, “La Huerta,” 828.
“I can imagine each thread”:
EC
, 713–14.
Poems for the Dead:
EC
, 716; Gil Benumeya, “Estampa de García Lorca,”
La Gaceta Literaria
(Madrid), January 15, 1931, in OC, III, 377; Andrew A. Anderson, “Lorca’s ‘New York poems’: A Contribution to the Debate,”
Forum for Modern Language Studies
XVII (July 3, 1981), 264–65.
FGL writes
Once Five Years Pass:
FGL,
Autógrafos
III, 214;
FM
, 333;
EC
, 712, 716.
Once Five Years Pass:
All quotations are taken from OC, II, 329–93, trans. FGL,
Once Five Years Pass
, trans. William Bryant Logan and Angel Gil Orrios, in
American Theatre
3, 9 (December 1986), Special Insert, 1–15.
“To [Federico], the living mysteries”:
FM
, 137, trans.
GM
, 112–13.
“entirely of my brother’s”:
Auclair, 206.
Theater of Souls:
Margarita Ucelay, “La problemática teatral: Testimonios directos de Federico García Lorca,”
BFFGL
6 (December 1989), 35; and OC, IV, 884–89.
“a mystery play”:
“Llegó anoche el poeta Federico García Lorca,”
La Nación
(Buenos Aires), October 14, 1933, 9, in OC, III, 444.
“personal vision”:
FM, 333, trans.
GM
, 199.
Jorge Manrique’s classic image:
Manrique wrote “our lives are the rivers / that flow into the sea / which is death.” (Jorge Manrique,
Coplas a la muerte de su padre
(Madrid: Castalia, 1983), 48.
Fuente Vaqueros names street in FGL’s honor:
Andrés Soria Olmedo, introduction to FGL,
Alocución al pueblo
, 8–11; Marie Laffranque, “Bases cronológicas para el estudio de Federico García Lorca,” in Gil, 442.
FGL speaks at library dedication:
All quotations are taken from FGL,
Alocución al pueblo
, in OC, III, 201–14. For additional information on the dedication, see
FM
, 23–24, trans. GM, 13–14; and Andrés Soria Olmedo, introduction to FGL,
Alocución al pueblo
.
“to escape into lost corners … orator!”:
FM, 24, trans.
GM
, 14.
18. A People’s Theater: 1931–32
“more
granadino
than ever”:
Morla Lynch, 77.
“magnificent madness, come on!”:
Morla Lynch, 106–7.
Government drafts constitution:
Jackson, 45–54; Thomas, 72–74; Josep Pla,
Madrid—El advenimiento de la República
(Madrid: Alianza, 1986), 135.
FGL attends Cortes session:
Juan-Simeón Vidarte,
Las Cortes Constituyentes de
1931–1933. Testimonio del primer secretario del Congreso de los Diputados (Barcelona: Grijalbo, 1976), 189–96;
G, II
, 157–59.
Manuel Azaña:
Jackson, 46–56; Thomas, 43–45; Cipriano Rivas Cherif,
Retrato de un desconocido. Vida de Manuel Azaña, ed
. Enrique de Rivas Ibáñez (Barcelona: Grijalbo, 1980), 153; María Teresa León, “Federico y Margarita,”
El Nacional
(Caracas), October 11, 1956.
FGL announces plans for La Barraca:
Morla Lynch, 127–28; Anderson, “Los primeros pasos”; Aub, 279; Saenz de la Calzada, 43. On FGL’s choice of name for the company, see Byrd, 15–16; Aub, 279; Enrique Moreno Báez, “La Barraca. Entrevista con su director, Federico García Lorca,”
Revista de la Universidad Internacional de Santander
(1933), in OC, III, 426;
FM
, 439.
“To give back to the people”:
V.S., “Estudiantes de la F.U.E. se echarán a los caminos con ‘La Barraca’”
El Sol
(Madrid), December 2, 1931, 1, in OC, III, 384.
“We will remove plays”:
FM
, 449–50.
De los Ríos named Minister of Education:
Antonio Campoamor González, “La Barraca y su primera salida por los caminos de España,”
Cuadernos Hispanoamericanos
433–36, vol. II (September-October 1986), 782–83; “Actividad de los estudiantes. Creación de un teatro universitario para la divulgación de obras clásicas,”
Herald
o de Madrid
, November 26, 1931, 2; Saenz de la Calzada, 42–43; Fernando de los Ríos, “Programa y presupuesto de Instrucción Pública,”
El Liberal
(Madrid), March 25, 1932, 11.
“was like a dazzling toy”:
FM
, 452.
La Barraca sparks controversy:
G, II
, 164–66, citing José Luis Tapia, “Romance del Federico,”
Gracia y Justicia
(Madrid), January 23, 1932, 10; and
Gracia y Justicia
(Madrid), March 12, 1932; Fernando de los Ríos, “Programa y presupuesto de Instrucción Pública,”
El Liberal
(Madrid), March 25, 1932, 11.
Eduardo Ugarte:
Ontañón, “Semblanza”;
El exilio español en Mexico
. 1939–1982 (Mexico City: Salvat 38; Fondo de Cultura Económica, 1982), 868; Buñuel,
Mi último suspiro
, 125; Saenz de la Calzada, 23–24, 184–85; Auclair, 240; author interview with Arturo Saenz de la Calzada; “La política y las tendencias en las obras de hoy. Hay que crear un teatro de ensayo,”
El Impartial
(Madrid), May 2, 1932, in OC, III, 413–16.
FGL and Ugarte select company members:
Emilio Garrigues Díaz-Cañabate, “Al teatro con Federico García Lorca,”
Cuadernos Hispanoamericanos
340 (October 1978), 106–7; author interview with María del Carmen Lasgoity; Saenz de la Calzada, 66; Octavio Ramírez, “Teatro para el pueblo,”
La Nación
(Buenos Aires), January 28, 1934, Arts and Letters section, in OC, III, 494–95.
“effective” and “positive”:
Author interview with Arturo Saenz de la Calzada.
“incredibly malleable”:
Peñón, 66.
343–344
FGL at rehearsals:
Saenz de la Calzada, 110–16; Auclair, 246; “Entrevista conMaría del Carmen Lasgoity. ‘Federico nos dirigía por radar’”
Centro Dramático Nacional: Noticias
2 (December 1986), 12; author interviews with Alvaro Custodio, María del Carman Lasgoity, and Arturo Saenz de la Calzada;
G, II
, 171; Mario Hernández, “Música para La Barraca,” in
FM
, 495–96; Luis Fernández-Cifuentes, “García Lorca: historia de una evaluación, evaluación de una historia,” in
Estelas, laberintos, nuevas sendas. Unamuno, Valle-Inclán, García Lorca. La Guerra Civil
, ed. Angel G. Loureiro (Barcelona: Anthropos, 1988). Information on FGL’s knowledge of Stanislavsky comes from J. G., “Margarita Ucelay: Recuerdos de la profesora y de la actriz,”
El Público
68 (Madrid, May 1989), 9, and author interview with Alvaro Custodio.
“And to hell”:
Auclair, 235. On FGL’s camaraderie with his actors, see also “El carro de la farándula,”
La Vanguardia
(Barcelona), December 1, 1932, in OC, III, 396–400; Saenz de la Calzada, 150; and author interview with María del Carmen Lasgoity.
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