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Lorca, Buñuel, Dalí
Lorca, Bunuel and Dali were, in their respective fields of poetry and theatre, cinema, and painting, three of the most imaginative creative artists of the twentieth century; their impact was felt far beyond the boundaries of their native Spain. But if individually they have been examined by many, their connected lives have rarely been considered. It is these, the ties that bind them, that constitute the subject of this illuminating book. They were born within six years of each other and, as Gwynne Edwards reveals, their childhood circumstances were very similar. Each was affected by a narrow-minded society and an intolerant religious background which equated sex with sin and led all three to...
Blood Wedding
Blood Wedding is set in a village community in Lorca's Andalusia, and tells the story of a couple drawn irresistibly together in the face of an arranged marriage. This tragic and poetic play is the work on which his international reputation was founded. Like many of Lorca's passionate and intensely lyrical plays that focus on peasant life and the forces of nature, Blood Wedding combines innovatory dramatic technique with Spanish popular tradition. Methuen Drama Student Editions are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, the volume contains a chronology of the playwright's life and work; an introduction giving the background to the play; a discussion of the various interpretations; notes on individual words and phrases in the text; and questions for further study.
Lorca
Now in paperback, a penetrating study of the life and work of an enigma in the world of theatre and poetry--awarded Choice's Outstanding Academic Book of the Year upon first publication Lorca's theatre, like that of Strindberg and Tennessee Williams, voices his personal dilemmas, not least his homosexuality. This study of all his plays examines the way in which the dramatist's life was transformed into high art through influences as varied as Surrealism and Greek tragedy. In an attempt to cover as many aspects of Lorca's theatre and the time in which he lived as possible, the book deals not only with the plays themselves but includes material on the social and political character of the 1920s and 1930s, on the cultural background, on Lorca's friendships with Dalí and Buñuel, and on the performances of the plays in his lifetime and afterwards.
Lorca Plays: 1
Written at the height of Lorca’s theatrical powers, these three tradgedies display his innovative mix of Spanish popular tradition and modern dramtic technique. They focus on the lives of passionate individuals, particularly women, trapped by the social conventions of peasant communitie
Sommer 14: A Dance of Death
‘Wars do not break out, they are not brokered or declared as is always written. They are brought about by those who desire them.’ In June 1914, Europe was enjoying unprecedented peace and prosperity. Little over a month later, the world was at war – and only a handful of people knew it was happening. Inspired by the medieval mystery plays Sommer 14 – A Dance of Death is an epic telling from a German and European perspective of the world's descent into war. Employing the character of Death as a guide, the play uses the classic Danse Macabre structure of a series of searing vignettes to illuminate the people and the events that led up to the outbreak of the First World War.
Burlador de Sevilla Y El Convidado de Piedra
Tirso de Molina was, with Lope de Vega and Calderon, one of the great dramatists of 17th century Spain, which produced a theatre as vital rich and as varied as its Elizabethan counterpart. The Trickster of Seville is thoroughly representative of the drama of Spain's Golden Age: a drama of fast-moving action which set its face against classical precepts, broke the unities of time and place, cheerfully mixed the serious and the comic, combined main and sub-plots, and cultivated Spanish subjects and Spanish characters. In this respect Tirso's Don Juan is of course, the most famous character in the drama of the Golden Age, as well as the first of a long line which extends through Mozart and Moliere to the 20th century.
Three Major Plays
Lope de Vega (1562-1635), widely regarded as the architect of the drama of the Spanish Golden Age, was known by his contemporaries as the `monster of Nature' on account of his creativity as a playwright. Claiming to have written more than a thousand plays, he created plots and characters notable for their energy, inventiveness and dramatic power, and which, in contrast to French classical drama, combine the serious and the comic in their desire to imitate life. Fuente Ovejuna, based on Spanish history, and revealing how tyranny leads to rebelliion, is perhaps his best-known play. The Knight from Olmedo is a moving dramatization of impetuous and youthful passion which ends in death. Punishmen...
Almodóvar
"This important new study will appeal to Almodovar's devotees and to film students alike, with its chronological examination of the director's career. It sheds light on each individual film, demonstrates the connections between one movie and another and examines the director's progression in terms of genre, style and cinematic technique to reveal Almodovar's growing mastery of his art."--BOOK JACKET.
A Companion to Luis Buñuel
Luis Buñuel (1900-1983) was one of the truly great film-makers of the twentieth century. Shaped by a repressive Jesuit education and a bourgeois family background, he reacted against both, escaped to Paris, and was soon embraced by André Breton's official surrealist group. His early films are his most aggressive and shocking, the slicing of the eyeball in Un Chien andalou (1929) one of the most memorable episodes in the history of cinema. The Forgotten Ones (1950) and He (1952), made in Mexico, were followed, from 1960, in Spain and France, by the films for which he is best known: Viridiana (1961), Belle de jour (1966), Tristana (1970), The Discreet Charm of the Bourgeoisie (1972), and That Obscure Object of Desire (1977). Gwynne Edwards analyses the films in the context of Buñuel's personal obsessions - sex, bourgeois values, and religion - suggesting that the film-maker experienced a degree of sexual inhibition surprising in a surrealist. GWYNNE EDWARDS is Professor of Spanish at the University of Wales, Aberystwyth.
