Crónica
(Madrid), September 25, 1932, 9–10, cited in
G, II
, 214; Mario Hernández, “Cronología de
Bodas de sangre
(1928–39)” (unpublished ms., 1985); Pedro Massa, “El poeta García Lorca y su tragedia
‘Bodas de sangre,’” Crítica
(Madrid), April 9, 1933), in OC, III, 411; “Sección de rumores,”
Heraldo de Madrid
, October 19, 1932, 8.
La Barraca in Granada:
“El IV Centenario de la Universidad,”
Defensor de Granada
, October 7, 1932; “La agrupación universitaria ‘La Barraca’ representa ‘La vida es sueño,’”
Defensor de Granada
, October 8, 1932, 4; “La ‘Barraca’ en Granada,”
Defensor de Granada
, October 9, 1932, 1;
G, II
, 216–17.
La Barraca in Madrid:
Miguel Pérez Ferrero, “Teatro de hoy antiguo,”
Heraldo de Madrid
, October 26, 1932, 5; Morla Lynch, 300–1;
Blanco y Negro
(Madrid), November 6, 1932; Saenz de la Calzada, 166.
“I remember with distant” and “tired and rather alone”:
EC, 744–48.
FGL in Barcelona:
“Conferencia Club, Federico García Lorca,”
Mirador
(Barcelona), December 22, 1932, 8; “Conferencia Club. Federico García Lorca,”
El Día Gráfico
(Barcelona), December 16, 1932, 1;
El Diluvio
(Barcelona), December 14, 1932; Agustí, 77–79; “Conferencia Club. ‘Poeta en Nueva York,’”
La Vanguardia
(Barcelona), December 17, 1932, 7; Guillermo Díaz Plaja, “García Lorca y su Nueva York,”
Luz
(Madrid), December 23, 1932, 3.
“You’ve captured me”:
Gerardo Diego, “El llanto, la música, y otros recuerdos,” in FGL,
Llanto por Ignacio Sánchez Mejías
, facsimile ed., with texts by Dámaso Alonso, Jorge Guillén, Gerardo Diego, Rafael Alberti, José María de Cossío, Rafael Gómez (Cantabria: Institución Cultural de Cantabria / Diputación Regional de Cantabria, 1982), 29.
“I will burn down”:
Gerardo Diego, ed.,
Poesía española contemporánea
(1901–1934) (Madrid: Taurus, 1979), 403, in OC, III, 308.
“No house is more joyful”:
Nicolás González Deleito, “Federico García Lorca y el teatro de hoy,”
Escena
1 (Madrid, May 1935), in OC, III, 562. On the family’s Calle Alcalá apartment, see also
G, II
, 230–31; author interviews with Isabel García Lorca and Jose Caballero; Fernández-Montesinos, “Descripción,” xi.
“joy of being able to collaborate”:
FGL, “Presentación del auto sacramental
La vida es sueño
de Calderón de la Barca, representado por La Barraca,” in OC, III, 221.
“socialist tuxedos”:
“Antena literaria,”
Gracia y Justicia
(Madrid), December 24, 1932, 10.
FGL defends Barraca:
José María Salaverría, “El carro de la Farándula,”
La Vanguardia
(Barcelona), December 1, 1932, in OC, III, 397–98; author interview with María del Carmen Lasgoity; Luis Araquistaín to FGL (November 15, 1932), AFFGL.
Rehearsals for
Blood Wedding:
FM, 154 and 335, trans. GM, 201; Josber, “Cuatro breves preguntas, al pasar, a Josefina Días de Artigas,” in FGL,
Bodas de sangre
, ed. José Monleón, 2nd ed. (Barcelona: Aymá, 1975), 65–66; Auclair, 274–75:; Luis Fernández Cifuentes, “García Lorca y el éxito: el caso de
Bodas de sangre”
in Soria Olmedo, 87–88;
El Imparcial
(Madrid), March 3 and 28, 1928.
“full force”:
Hernández, introduction to FGL,
Bodas de sangre
, 34, citing
El Imparcial
(Madrid), March 28, 1933.
“Tell me I’m great”:
Guardia, 79.
“No!! Any one of my actresses”:
Saenz de la Calzada, 110.
“secondhand artists”:
Remarks by FGL to José Weissberger, cited in Christopher Maurer, “Bach and
Bodas de sangre,”
in
Lorca’s Legacy: Essays on Lorca’s Life, Poetry, and Theatre
, eds. Manuel Durán and Francesca Colecchia (New York: Peter Lang, 1991), 107–9.
“Don’t pull that Lorca business”:
Ontañón.’
“The Spanish theater … so desires”:
El Imparcial
(Madrid), January 7, 1933, and February 5, 1933.
Opening night of
Blood Wedding:
Hernández, introduction to FGL,
Bodas
, 33–6; Auclair, 274–76; GM, 201;
Luz
(Madrid), March 9, 1933; Morla Lynch, 330–34.
Reviews of
Blood Wedding:
Fernández Cifuentes, 135–41; “Beatriz:
Bodas de sangre,” ABC
(Madrid), March 9, 1933, 43; Antonio Espina, “Estreno en el Teatro Beatriz,”
Luz
(Madrid), March 9, 1933; Melchor Fernández Almagro, “Teatros. Beatriz. Estreno de
‘Bodas de sangre,”’ El Sol
(Madrid), March 9, 1933, 8; “Un éxito teatral de García Lorca,”
Defensor de Granada
, March 11, 1933, 1; Auclair, 276; María Francisca Vilches de Frutos and Dru Dougherty,
Los estrenos teatrales de Federico García Lorca
[1920–45] (Madrid: Tabapress / Fundación Federico García Lorca, 1992), 774–75. On additional performances of
Blood Wedding
, see
G, II
, 230, citing “Cartelera,”
Heraldo de Madrid; FM
, 336; Andrew A. Anderson, “Representaciones provinciales de dramas de García Lorca en vida del autor,”
Segismundo
41–42 (Madrid, 1985), 270–75;
La Vanguardia
(Barcelona), May 31, 1933, 10; M. Rodríguez Codolá, “Teatro y conciertos. Poliorama.
Bodas de sangre
, tragedia en tres actos, ivididos en siete cuadros, original de Federico García Lorca,”
La Vanguardia
(Barcelona), June 2, 1933, 10; Ignacio Agustí,
“Bodas de sangre,” Mirador
(Barcelona), June 8, 1933, 5.
“a member of the bourgeoisie … reality”:
“Charlando con García Lorca,”
Crítica
(Buenos Aires), October 15, 1933, in OC, III, 447.
“magnificent tragedy”:
Antonio Machado to FGL (March 12, 1933), AFFGL.
“I feel calm and content” and “Why haven’t you written”:
EC
, 753.
“these days … applause and glory”:
EC
, 754–56. On FGL’s loneliness, see also Eduardo Vílchez to FGL (
c
. 1935), AFFGL.
20. Voice of Love: 1933
FGL’s typical daily behavior, 1933:
Author interview with Isabel García Lorca; Martínez Nadal,
The Public
, 11; author interview with José Caballero; author conversation with Rafael Martínez Nadal; Ontañón y Moreiro, 107–8; Ontañón, “Semblanza”; Cernuda, “Federico García Lorca,” 16; Suero, “Crónica”; FM, 442.
“true noctambulist”:
Salvador [García Picossi] to FGL (December 12, 19
35), AFFGL.
“No, fortunately”:
“Llegó anoche Federico García Lorca,”
La Nación
(Buenos Aires), October 14, 1933,
9, in
OC, III, 445.
“it was as if”:
Higuera Rojas, 58.
“She formed me”:
EC, 735.
“One feels … eloquence”:
Morla Lynch, 164.
“a gentleman … delightful”:
Suero, “Crónica.”
FGL collaborates with Ucelay on
Don Perlimplín:
José Gordon,
Teatro experimental español (Antología e historia
) (Madrid: Escelicer, 1965), 21;
FM
, 313–14; author interview with Margarita Ucelay; Margarita Ucelay, introduction to FGL,
El amor de don Perlimplín y Belisa en su jardín
, ed. Margarita Ucelay (Madrid: Cátedra, 1990); Auclair, 219–21; Margarita Ucelay, “Federico García Lorca y el Club Teatral Anfistora: el dramaturgo como director de escena,” in Soria Olmedo, 54; J. G., “Margarita Ucelay: Recuerdos de la profesora y de la actriz,”
El Público
68 (Madrid, May 1989), 8–9; Agustín de Figueroa, “El Club teatral ‘Anfistora,’” Ahora (Madrid), December 29, 1934; Mario Hernández, introduction and notes to FGL,
La zapatera
, 41, 333–61; author interview with Santiago Ontañón.
“kitsch … won’t allow,” “chamber opera” and “The work is built”:
“Una interesante iniciativa: el poeta Federico García Lorca habla de los clubs teatrales,”
El Sol
(Madrid), April 5, 1933, in OC, III, 407–9.
Critical response to
Don Perlimplín:
Review
by M. Nuñez de Arenas in
La Voz
(Madrid), April 6, 1933, 3; Enrique Azcoaga, “Perlimplín y Belisa,”
Hoja Literaria
(Madrid), April 1933, 10. On Ontañón’s inaudibility, see
La Voz
(Madrid), April 6, 1933, 3; and Juan Chabás, “Función de gala en honor de García Lorca,”
Luz
(Madrid), April 6, 1933, 6. Information on Marañón’s response to the play comes from author interview with Margarita Ucelay.
“In Spain no one”:
G, II
, 383.
FGL correspondence with Eduardo Valdivieso:
EC, 754–59; Eduardo Rodríguez Valdivieso, “Hijo del tiempo. El amigo de Federico García Lorca comenta algunos episodios de su amistad con el poeta,”
El País
(Madrid), December 24, 1993, 5.
Growing fascist presence in Spain:
Letter by José Antonio Primo de Rivera,
ABC
(Madrid), March 22, 1933, in Díaz-Plaja, 555–56; Corpus Barga, “¿Se inicia el Fascismo español?”
La Nación
(Buenos Aires), April 8, 1933, 4; Thomas, 99;
G, II
, 226; South-worth, 1–3. On Hitler and Jewish persecution, see Payne, 30; Morla Lynch, 346; Rafael Alberti, “Entre el clavel y la espada,”
El País
(Madrid), July 21, 1985, 11.
Alberti launches
Octubre:
FGL signed a manifesto “vigorously” protesting against Hitler’s persecution of writers, intellectuals, and proletariats (
Octubre
[May 1, 1933]).
“Politics is the ugliest”:
Luciano del Rio, “García Lorca en Pontevedra,”
Diario de Pontevedra
, August 12, 1973, 16.
“pathetic end … to eat”:
EC, 738.
“has turned communist … voice of art”:
Ricardo F. Cabal, “Charla con Federico García Lorca,”
La Mañana
(León), August 12, 1933, in OC, III, 423.
FGL and La Argentinita collaborate with Alberti:
“En el Español: La poesía popular en la lírica española,”
Luz
(Madrid), May 8, 1933, 6; Miguel Pérez Ferrero, “Unas palabras de La Argentinita, García Lorca y Alberti,”
Heraldo de Madrid
, May 5, 1933, 5; Miguel Pérez Ferrero, “Federico García Lorca,” in
Algunos españoles
(Madrid: Ediciones Cultura Hispánica, 1972), 107; Morla Lynch, 347.
FGL with La Argentinita:
[Residencia de Estudiantes], 145, 149; Saenz de la Calzada, 152; Mario Hernández, introduction to FGL, Divan, 103; Morla Lynch, 202; Armando María y Campos,
Un ensayo general sobre el teatro español contemporáneo visto desde México
(Mexico, 1948).
The Cuckolds’ Pilgrimage:
Rivas Cherif, January 27, 1957; [Residencia de Estudiantes], 111;
Heraldo de Madrid
, November 10, 1933; Review by Adolfo Salazar,
El Sol
(Madrid), November 10, 1933;
FM
, 356–57;
GM
, 217–19; Auclair, 281; Mora Guarnido, 32.
Méndez birth:
Morla Lynch, 336–38; Aub, 249.
FGL begins
Yerma:
Morla Lynch, 354; Mario Hernández, introduction to FGL,
Yerma
, 10; Mario Hernández, “Cronología y estreno de
Yerma
, poema trágico de García Lorca,”
Revista de Archivos, Bibliotecas y Museos
LXXXII, 2 (April-June 1979), 290; José L. Serna, “Charla amable con Federico García Lorca,”
Heraldo de Madrid
, July 11, 1933, in OC, III, 418–19; “Mercurio literario.
Yerma,” Heraldo de Madrid
, August 3, 1933, 7.
“Get my room ready”:
EC, 760.
La Barraca presents
Fuenteovejuna:
Saenz de la Calzada, 71, 126, 167; Suzanne W. Byrd,
La Fuente Ovejuna de Federico García Lorca
(Madrid: Editorial Pliegos, 1984); Carmen Diamante, “Recuerdo,”
Retama
3 (Cuenca, May 1986), 13; “Mascarilla,” “Teatros. Libertad. Fuenteovejuna,”
El Mercantil Valenciano
, July 1, 1933, 7.
“nasty imputations … just theater”:
Enrique Moreno Báez, “La Barraca. Entrevista con su director, Federico García Lorca,”
Revista de la Universidad Internacional de Santander
(1933), in OC, III, 426.
La Barraca in Santander:
Saenz de la Calzada, 167; EC, 763; Celia Valbuena Morán,
García Lorca y “La Barraca” en Santander
(Santander: Publisher unknown, 1974);
El Cantábrico
(Santander), August 9–20, 1933; Byrd, 133–35;
La Voz de Cantabria
, August 16, 1933, 1.
“a theater by and for swine … European theater”:
Ricardo F. Cabal, “Charla con Federico García Lorca,”
La Mañana
(León), August 12, 1933, in OC, III, 424.
“better than ever”:
Jorge Guillén to Germaine Guillén (August 19, 1933), papers of Jorge Guillén, Wellesley College Archives.
“Vaya con Dios
… Shelley plain”:
Herschel Brickell, “Federico García Lorca: A Biographical Note,” in FGL,
The Poet in New York and Other Poems of Federico García Lorca
, trans. Rolfe Humphries, introduction by José Bergamín (New York: W. W. Norton, 1940), 9–10.
“every hour”:
Rafael Rodríguez Rapún to FGL (October 12, 1933), AFFGL.
Rafael Rodríguez Rapún:
Tomás Rodríguez Rapún Archive, Madrid; author interview with Tomás Rodríguez Rapún; correspondence from Tomás Rodr�
�guez Rapún to author (December 22, 1988); Morla Lynch, 351, 363–66; Saenz de la Calzada, 21, 130, 188; Auclair, 254;
G, II
, 242; Marie Laffranque, “Bases cronológicas para el estudio de Federico García Lorca,” in Gil, 447; author interview with José Caballero; author interview with Santiago Ontañón; Ontañón y Moreiro, 146.
“immersed … tremendous”:
G, II
, 243.
“the passion”:
Author interview with Santiago Ontañón.
Friendship between FGL and Rapún:
Rafael Martínez Nadal, “Presentación,” in Saenz de la Calzada, 12; Saenz de la Calzada, 140,
178–80, 187–89; Auclair, 250–51; José Caballero to FGL (1935), AFFGL; Gibson,
Federico García Lorca: A Life
, 353; Rivas Cherif; author conversation with Modesto Higueras; author interview with María del Carmen Lasgoity.
FGL inscribes books for Rapún:
Tomás Rodríguez Rapún Archive, Madrid.
FGL’s plans to publish
The Audience:
José L. Serna, “Charla amable con Federico García Lorca,”
Heraldo de Madrid
, July 11, 1933, in OC, III, 418; Martínez Nadal,
The Public
, 19; FGL,
El público
, ed. María Clementa Millán, 109.
Rapún confronts father:
Author interview with Tomás Rodríguez Rapún.
“Having a good friend”:
Auclair, 106.
“Federico was so open”:
Author interview with José Caballero.
21. Our America: 1933–34
Membrives opens
Blood Wedding:
Letter from Juan Reforze to FGL, requesting rights to produce
Blood Wedding
in Buenos Aires (March 30, 1933), AFFGL; Hernández, introduction to FGL,
Bodas de sangre
, 42; “En el Maipo se aplaudió ayer
Bodas de sangre,” La Nación
(Buenos Aires), July 30, 1933, 10; “Hay valores destacados en
Bodas de sangre
, estreno del Maipo,”
La Prensa
(Buenos Aires), July 30, 1933, 15; “Beneficio de Lola Membrives,”
La Nación
(Buenos Aires), January 12, 1934, 9; Guardia, 83–84; “Esta noche se despedirá Lola Membrives. Volverá al Maipo en los primeros días de octubre,”
La Nación
(Buenos Aires), August 7, 1933, 10.
“That’s how it goes”:
“Charlan do con García Lorca,”
Crítica
(Buenos Aires), October 15, 1933, in OC, III, 447.
“Your name”:
Juan Reforzeo to FGL (August 2, 1933), AFFGL, cited in Mario Hernández, introduction to FGL,
Bodas de sangre
, 44.
“very large ship”:
Lorca Page 79