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La Casa De Bernarda Alba (Spanish, Paperback)
Loot Price: R549
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La Casa De Bernarda Alba (Spanish, Paperback)
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List price R676
Loot Price R549
Discovery Miles 5 490
You Save R127 (19%)
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Total price: R569
Discovery Miles: 5 690
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As he wrote La casa de Bernarda Alba, Federico Garcia Lorca
explained: "drama is poetry that escapes the book and becomes
human. And as it is being made it talks and shouts, cries and
despairs." Lorca saw in theatre the most perfect means to reach
people's souls, more immediate and effective than poetry, and he
kindled this possibility even amidst difficult times. Lorca is,
mainly, a poet, and as so his plays possess great visual as well as
linguistic virtue. The last of the rural tragedies -Bernarda Alba
was preceded by Bodas de sangre (1933) and Yerma (1934)- was
finished in June 1936. It was meant to open in Buenos Aires in
October, played by the Margarita Xirgu company, but Lorca was
murdered in July. War events postponed the opening until 1945, but
in Spain the play would stay banned until 1964. The plot is
deceivingly simple: Bernarda Alba exerts a tyrant control upon her
daughters, who live as prisoners within her house walls. The
conflict is deprivation of freedom, blown up to tragic proportions
by the death of Bernarda Alba's second husband and her decision to
impose eight years of strict mourning. But this mourning goes far
beyond the usual black clothing: during the following eight years
no one will leave the house, and no man will enter. The reclusion
is the results of them being women of a certain social position.
The authority/freedom conflict is visible through the submission of
the feminine condition -the subtitle Drama of women in the towns of
Spain highlights this-. Freedom is stifled by the prejudices of a
social class enslaved by appearance and tortured afraid by gossip.
Lorca's theatrical experience is highly noticeable in his way of
highlighting the conflict without superfluous details: lighting,
costumes, text and language, and the actresses' movements,
everything is measured to the last millimeter. And the closing
words of the main character become a remarkable premonition of what
would shroud Spain during many following years. "And I do not want
sobbing. Death must be stared in her face." " Silence, silence I
have said Silence Professor Borja Rodriguez-Gutierrez adds to this
edition a clear introductory essay that dismantles Garcia Lorca's
clockwork mechanism, while introducing annotations that allow the
reader to fully grasp the meaning of this influential cornerstone
of Hispanic letters.
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