OPEN STAGES ONLINE: Life of Lorca, Part 3

by Walter Bilderback, Production Dramaturg

New York and the New World

As the twenties went on, Lorca’s prominence as a poet increased, especially with the publication of his Gypsy Ballads in 1928. In 1929, Lorca went to New York City for a year, studying and lecturing at Columbia University as well as absorbing the art and culture of the Harlem Renaissance, an experience he documented in his book of poems A Poet in New York (published posthumously).  During his stay in New York, biographer Leslie Stainton writes, Lorca discovered he “was a poet of the land, not of steel girders and asphalt streets, and the longer he remained in New York, the more he understood this.” From that point, his writing focused on the rural life of Andalusia, particularly Granada. Before returning to Spain, he also spent time in Havana and in Buenos Aires, where he found a second artistic home for his plays.

Spain in upheaval

Lorca returned to a Spain on verge of huge changes. In 1931, national elections put a Republican government in power, replacing the military dictatorship of Primo de Rivera that had lasted nearly a decade. Among the new government’s goals was reducing illiteracy in the rural provinces. A group of Madrid college students created La Barraca, a traveling theater company dedicated to the plays of Spain’s Golden Age – plays written by writers such as Lope de Vega, Calderon de la Barca, and Cervantes. The company hired Lorca as its director. With La Barraca, Lorca found a renewed passion for theater, directing and designing productions, as well as sometimes acting himself.

Co-director Eduardo Ugarte and Lorca, in their Barraca uniforms, during a tour with the company, 1932.

 

La Barraca and Blood Wedding

In his book Lorca: Living in the Theatre, author Gwynne Edwards suggests that Lorca’s activities with La Barraca had a considerable effect on the subject matter and the style of his own writing. Although music was used selectively in his earlier work, nowhere was it employed more extensively than in Blood Wedding, and this clearly owed something to Lorca’s work with La Barraca.

Blood Wedding also seems, in many ways, a continuation of the great tradition of seventeenth-century Spanish drama, both in its tragic structure founded upon fate and impossible demands of personal “honor,” and in characters such as The Moon and The Beggar. One of Lorca’s major productions with La Barraca was Calderon’s mystery play Life is a Dream, in which he played the role of The Shadow, an eerie personification of one of Lorca’s constant obsessions, death. (By luck, a few moments of his performance has survived on film from the period, which can be seen at the tail end of the above YouTube video.)

 

Blood Wedding ends it run at The Wilma Theater on November 19. See this riveting production and get your ticket today at WilmaTheater.org/BloodWedding.

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