"Well we've got three floors right. Plenty of room... Room for a children's bedroom. Room for two." London, the present day. A woman is driven to the unthinkable by her desperate desire to have a child. Written and directed by Simon Stone, this radical new version of Lorca's tragedy of yearning and loss won universal critical acclaim when it premiered at the Young Vic in July 2016. Yerma triumphed at the 2017 Olivier Awards, with the production winning Best Revival, and Piper winning Best Actress. She also won the Evening Standard Natasha Richardson Award for Best Actress. Maureen Beattie, Brendan Cowell, John MacMillan and Charlotte Randle received unanimous praise for their performances.

Yerma (meaning 'Barren') is one of three tragic plays about peasants and rural life that make up Lorca's 'rural trilogy'. It is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. The woman's barrenness becomes a metaphor for her marriage in a traditional society that denies women sexual or social equality. Her desperate desire for a child drives her to commit a terrible crime at the end of the play. This Student Edition comes complete with a full introduction; plot synopsis; commentary on characters, context and themes; bibliography; chronology, and questions for study.

Drama Classics: The World's Great Plays at a Great Little Price Federico Garcia Lorca's extraordinarily powerful drama, the last he wrote before his assassination, explores the darkness at the heart of repression. When Bernarda's husband dies, she locks all the doors and windows. She tells her grown-up daughters to sew and be silent. 'There are eight years of mourning ahead of us. While it lasts not even the wind will get into this house.' But locks can't hold back the growing tide of desire. This English version of The House of Bernarda Alba, published in the Nick Hern Books Drama Classics series, is translated and introduced by Jo Clifford, and also contains a chronology and suggestions for further reading.

Como estudiante fue algo irregular, abandono la Facultad de Derecho de Granada para instalarse en la Residencia de Estudiantes de Madrid (1918-1928);pasado un tiempo regreso a la Universidad de Granada donde se graduo como abogado.

In these three plays, García Lorca's acknowledged masterpieces, he searched for a contemporary mode of tragedy and reminded his audience that dramatic poetry—or poetic drama—depends less on formal convention that on an elemental, radical outlook on human life. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The result, both performable and readable, has been thoroughly revised for this edition, which is introduced by Christopher Maurer, general editor of the Complete Poetical Works of García Lorca.

Drama Classics: The World's Great Plays at a Great Little Price Garcia Lorca's passionate, lyrical tale of longing and revenge: a twentieth century masterpiece. Translated from the Spanish and introduced by one of Scotland's finest playwrights, Jo Clifford.

Three of Federico Garcia Lorca's most famous plays in a single volume, translated from the Spanish and introduced by one of Scotland's finest playwrights, Jo Clifford. 'There's fire burning in my head. There's an ocean drowning my heart.' Lorca's passionate, lyrical tales of longing and revenge put the spotlight on the rural poor of 1930s Spain and are considered masterpieces of twentieth-century theatre. These plays exhibit Lorca's intense anger at the injustices of society, and his determination to create art that might remedy it. The collection contains Blood Wedding, Yerma and The House of Bernarda Alba, in sensitive and playable translations, and a full introduction to Lorca, his times and his work. The Nick Hern Books Drama Classic Collections series brings together the most popular plays from a single author or a particular period. They offer students, actors and theatregoers a series of uncluttered, accessible editions, accompanied by comprehensive introductions. Where the originals are in English, there is a glossary of unfamiliar words and phrases. Where the originals are in a foreign language, the translations aim to be both actable and accurate - and are made by translators whose work is regularly staged in the professional theatre.

A. L. Lloyd was nothing if not versatile, ethnomusicologist, journalist, radio and television broadcaster, and translator. It is as the author of Folk Song in England, also reissued in Faber Finds, that he is best known, but, in this his centenary year (2008) Faber Finds is also celebrating him as a translator. 1937 was A. L. Lloyd's annus mirabilis as a translator. In it he published both his translations of Lorca - Lament for the Death of a Bullfighter - and Kafka's Metamorphosis. There aren't many who can translate with equal facility from Spanish and German. Not only did A. L. Lloyd do that, his translations were both firsts, the first translation of Lorca into English and the first English translation of Kafka's most famous story. On first publication A. L. Lloyd's Lorca translation was widely praised with V. S. Pritchett especially commending it in The New Statesman.

Federico Garcia Lorca (1898-1936), wrote The Tamarit Divan and the Sonnets of Dark Love in the last years of his life. Both books were published posthumously and explore passionate love. The setting for The Divan is the poet's Granada, while the Sonnets are a solitary, intimate voice speaking to one person. In translating these powerful poems, Jane Duran and Gloria Garcia Lorca have tried to remain as close as possible to Lorca's words and to his emotional and sensuous intensity.This bilingual edition also includes essays by two acclaimed Lorca scholars. Christopher Maurer's essay, 'Violet Shadow', explores Lorca's relationship with Arabic poetry in the Divan. Andres Soria Olmedo's essay, 'Dark St Valentine', studies the implications and resonances of 'dark love' in the Sonnets.

Bernarda Alba is a widow, and her five daughters are incarcerated in mourning along with her. One by one they make a bid for freedom, with tragic consequences. Lorca's tale depicts the repression of women within Catholic Spain in the years before the war. The House of Bernarda Alba is Lorca's last and possibly finest play, completed shortly before he was murdered by Nationalist sympathisers at the outbreak of the Spanish Civil War. Inspired by real characters and described by the author as 'a true record of village life', it is a tragic tale of frustration and explosive passions in a household of women rulled by a tyrannical mother. Edited with invaluable student notes - a must for students of Spanish drama

"This excellent edition is most welcome. A select bibliography, a brief vocabulary, several footnotes to explain points of difficulty, fourteen long endnotes... and even the music of the songs, make the edition an extremely valuable and interesting volume, offering the reader the text of the play itself and important new insights into its structure, its significance and indeed its success." Professor Leo Hickey, 'Modern Languages' Bodas de sangre is arguably the best-known work by the most celebrated of all twentieth-century Spanish writers. A passionate story of family feud and tragic elopement is played out in the setting of a poor country village, building up to a dramatic ending full of the intensely poetic symbolism characteristic of Lorca. -- .

Written while Federico Garcia Lorca was a student at Columbia University in 1929-30, Poet in New York is one of the most important books he produced, and certainly one of the most important books ever published about New York City. Indeed, it is a book that changed the direction of poetry in both Spain and the Americas, a path breaking and defining work of modern literature. Timed to coincide with the citywide celebration of Garcia Lorca in New York planned for 2013, this edition, which has been revised once again by the renowned Garcia Lorca scholar Christopher Maurer, includes thrilling material -new photographs, new and emended letters - that has only recently come to light. Complementing these additions are Garcia Lorca's witty and insightful letters to his family describing his feelings about America and his temporary home there (a dorm room in Columbia's John Jay Hall), the annotated photographs that accompany those letters, a prose poem, extensive notes, and an interpretive lecture by Garcia Lorca himself. An excellent introduction to the work of a key figure of modern poetry, this bilingual edition of Poet in New York, a strange, timeless, vital book of verse, is also an exposition of the American city in the twentieth century.

Garcia Lorca's drama about the shattering effects of emotional repression on a family of cloistered daughters, in a version by playwright Rona Munro for the critically acclaimed Shared Experience Theatre Company. When Bernarda's husband dies, she locks all the doors and windows. She tells her grown-up daughers to sew and be silent. 'There are eight years of mourning ahead of us. While it lasts not even the wind will get into this house.' But locks can't hold back the growing tide of desire... Rona Munro's version of The House of Bernarda Alba was first staged by Shared Experience Theatre Company at Salisbury Playhouse in March 1999 before a UK tour.

This selection has been the introduction for generations of American readers to the mesmerizing poems of Federico Garcia Lorca (1898-1937). Lorca is admired the world over for the lyricism, immediacy and clarity of his poetry, as well as for his ability to encompass techniques of the symbolist movement with deeper psychological shadings. Most of all, Lorca's poems are admired for their beauty. Undercurrents of his major influences -- Spanish folk traditions of his native Andalusia and Granada, gypsy ballads, and surrealists Salvador Dali and Luis Bunuel -- stream throughout Lorca's work.

Lorca's Blood Wedding is a classic of twentieth-century theatre. The story is based on a newspaper fragment which told of a family vendetta and a bride who ran away with the son of the enemy family. Lorca uses it to investigate the subjects which fascinated him: desire, repression, ritual, and the constraints and commitments of the rural Spanish community in which the play is rooted. Ted Hughes's version stays close in spirit and letter to the original Spanish. With marvellous directness, he fuses Lorca's vision to his own, and the result is a powerful poetic text which captures all the violence and pathos of the play for an English-speaking audience.

`I have made a terrible discovery ... I have not yet been born ... I live off borrowed substance; what I have within me is not mine.' In his four last plays Federico Garcia Lorca offered his disturbed and disturbing personal vision to Spanish audiences of the 1930s - unready, as he thought them, for the sexual frankness and surreal expression of his more experimental work. The ill-fated lovers of Blood Wedding, the desolate Yerma, the fading spinster Rosita, and Bernarda Alba's abused household of women all inhabit a familiar Andalusia. Their predicaments are starkly plotted, with a stagecraft rooted in classical theatrical tradition. In such figures Lorca addresses the cultural and political ferment of his time with a fiercely libertarian assault on 'old and wrong moralities', fusing the personal and the political through his virtuoso mastery of images. Yet all that mastery can barely keep at bay the anguished contradictions of these doomed human lives. Hence the authentic sense of danger - the duende, to use his own word of Lorca's theatre, finely conveyed here in John Edmunds's fluent and rhythmic new translations that lend themselves admirably to performance. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The second of Lorca's trilogy of rural dramas, Yerma, is a blend of contrasting moods through which Lorca charts the increasingly destructive obsession of a childless young country wife, and probes the darker zones of human fears and desires. The play's rich mode of expression - a combination of verbal, visual and auditory images and rhythms - is also geared to celebrating sexual attraction and fertility, creation and procreation. Through his characterization of the play's central figure, Lorca raises the question of women's social status - a controversial question both then and now, and one to which Robin Warner pays particular attention in his critical introduction to the play. He also examines the links between the dramatic structure of Yerma and the importance of cultural politics during the course of the Second Spanish Republic. The Spanish text is supported by an introduction and notes in English, as well as by an extensive vocabulary and section of discussion questions. -- .

A cherished erotic play by Federico Garcia Lorca, illustrated by a major Spanish artist. Painting, poetry, and music come together in Zobel Reads Lorca, as Fernando Zobel, a Harvard student who would become one of Spain's most famous painters, translates and illustrates Federico Garcia Lorca's haunting play about the wounds of love. The premiere of Amor de Don Perlimplin con Belisa en su jardin, an "erotic allelujia" which Lorca once called his most cherished play, was shut down in 1928 by Spanish government censors who confiscated the manuscript and locked it away in the pornography section of a state archive. Lorca rewrote the work in New York, and an amateur theater group brought it to the Spanish stage a few years later. Since his death, the play has also been transformed into ballet and opera. Zobel Reads Lorca presents Zobel's previously unpublished translation and features contextual essays from several scholars. Art historian Felipe Pereda studies Lorca in the context of Zobel's development as a painter, Luis Fernandez Cifuentes describes the precarious and much-debated state of the humanities in Zobel's Harvard and throughout the United States in the 1940s, and Christopher Maurer delves into musical and visual aspects of the play's American productions.

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.

"Let us agree," Federico Garcia Lorca wrote, "that one of man's most beautiful postures is that of St. Sebastian."
"In my 'Saint Sebastian' I remember you," Salvador Dali replied to Garcia Lorca, referring to the essay on aesthetics that Dali had just written, ." . . and sometimes I think he "is" you. Let's see whether Saint Sebastian turns out to be you."
This exchange is but a glimpse into the complex relationship between two renowned and highly influential twentieth-century artists. On the centennial of Dali's birth, "Sebastian's Arrows" presents a never-before-published collection of their letters, lectures, and mementos.
Written between 1925 and 1936, the letters and lectures bring to life a passionate friendship marked by a thoughtful dialogue on aesthetics and the constant interaction between poetry and painting. From their student days in Madrid's Residencia de Estudiantes, where the two waged war against cultural "putrefaction" and mocked the sacred cows of Spanish art, Dali and Garcia Lorca exchanged thoughts on the act of creation, modernity, and the meaning of their art. The volume chronicles how in their poetic skirmishes they sharpened and shaped each other's work--Garcia Lorca defending his verses of absence and elegy and his love of tradition while Dali argued for his theories of "Clarity" and "Holy Objectivity" and the unsettling logic of Surrealism.
Christopher Maurer's masterful prologue and selection of letters, texts, and images (many generously provided by the Fundacion Gala-Salvador Dali and Fundacion Federico Garcia Lorca), offer compelling and intimate insights into the lives and work of two iconic artists. The two men had a "tragic, passionate relationship," Dali once wrote--a friendship pierced by the arrows of Saint Sebastian.

Federico Garcia Lorca is perhaps the most celebrated of all twentieth-century Spanish writers, known not only for his plays but also for several collections of poems published both in his short lifetime and after. Lorca's poetry is steeped in the land, climate, and folklore of his native Andalusia, though he writes memorably of New York and Cuba too. Writing often in modernist idiom, and full of startling imagery, he evokes a world of intense feelings, silent suffering, and dangerous love.
This unique parallel-text edition balances poems from Lorca's early collections with his better-known later work, providing a clear vision of his poetic development and drawing attention to the brilliance and originality of some of the earlier work. Key poems from all Lorca's collections appear here, including the recently discovered Sonnets of Dark Love. Martin Sorrell's translations are thoughtful and accomplished, and D. Gareth Walters's shrewd Introduction, with its distinctive focus on the achievements of the poet, gives a clear and balanced appraisal of the poetry, while steering away from the tendency to mythologize Lorca's life and death. This edition also includes helpful notes, a bibliography, a chronology, and an index of titles.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more."

Blood Wedding by Federico Garcia Lorca is a classic of Spanish literature, the tragedy of a woman loved by two men. The man she has loved since childhood is hot-blooded Leonardo, but his family are hated by her own folk, and he marries someone else. Then, on her wedding-night, Leonardo carries her off on horseback, pursued by the men of the two shamed families. The two rivals meet in the moonlight in a fight to the death... Lorca said the only hope for happiness lies in 'living one's instinctual life to the full'. And: 'To burn with desire and to remain silent is the greatest punishment we can inflict on ourselves.' Blood Wedding explores the tragic intensity of lived, instinctual passion. For Brendan Kennelly, this involves a return to the very origins of drama: 'The pure pulsing sense of the mysterious nature of life before we learn to explain things almost out of existence ... Blood Wedding is a drama of agonised and bewildering revelation.' Lorca has a searing realisation of the power of desire. Brendan Kennelly rises to the challenge of how to convey this in an English translation. In language at once soaring and accurate, wild and precise, he does justice to Lorca's tragic vision of the nature and consequences of lived desire. His version of Blood Wedding reveals the mysterious, intricate, passionate and truly astonishing nature of Lorca's masterpiece. Brendan Kennelly's versions of Euripides' The Trojan Women and Medea, and Sophocles' Antigone, are published by Bloodaxe Books in his drama trilogy When Then Is Now: Three Greek Tragedies (2006). His version of Lorca's Blood Wedding was premiered by Northern Stage in Newcastle and Derby in autumn 1996. His Antigone and The Trojan Women were both first performed at the Peacock Theatre, Dublin, in 1986 and 1993 respectively; Medea premiered in the Dublin Theatre Festival in 1988, toured in England in 1989 and was broadcast by BBC Radio 3.

'There has been no more terribly acute critic of America than this steel-conscious and death-conscious Spaniard, with his curious passion for the modernities of nickel and tinfoil and nitre . . .' So wrote Conrad Aiken of Lorca's violent response to the New York he encountered as a student at Columbia University in 1929 and 1930. Born and brought up in Andalusia, Lorca's reaction to the brutality and loneliness of the vast city was one of amazement and indignation. His poetry moved away from the lyricism of the early Romanceros and became a vehicle for experimental techniques through which he expressed tortured feelings of alienation and dislocation. Based on a new edition of the original text, Greg Simon's and Steven White's new translation brings to life Lorca's arresting imagery. Christopher Maurer, a leading authority on Lorca's work, provides an enlightening introduction placing Poet in New York in context, and there are translations of Lorca's letters as well as a lecture he gave about the work. Illustrated with archive photographs, this comprehensive volume will make Lorca's masterpiece available to a whole new generation of readers.