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by Leslie Stainton


  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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