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Federico Garcia Lorca

Federico Garcia Lorca

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Published by Carina Bunea
Study Guide by David Richard Jones and Susan Jones
Study Guide by David Richard Jones and Susan Jones

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Categories:Types, Brochures
Published by: Carina Bunea on Dec 28, 2012
Copyright:Attribution Non-commercial


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Study Guide by David Richard Jones and Susan Jones
TEACHING Lorca's Plays Page 3The Life of Federico García LorcaPage 4Twentieth Century Spanish TheatrePage 10Lorca, Women, and the Drama of Sexual LiberationPage 13Quotations from Federico García LorcaPage 15Quotations about Federico García LorcaPage 16René Buch on Directing Lorca Page 17Lorca's Poetry in Spanish and EnglishPage 22Bodas de sangre SynopsisPage 25Yerma SynopsisPage 27La Casa de Bernarda Alba SynopsisPage 28Further Reading on Lorca's Life and PlaysPage 30
Teaching Lorca
Teachers able to expose their students to productions of plays after studying them in theclassroom can show their students what happens when dramatic literature-characters,actions, language, and imagery-move from the page to the stage. Other articles on thiswebsite, especially René Buch's interview about directing Lorca, will be particularlyhelpful in this study.These questions may help in organizing discussions and assignments about the play onstage.
. Before seeing the production, describe one or more important charactersfrom the play. Consider their social position, family, education, and emotional history.How do they look and talk and move in your imagination? Your impressions will comenot only from what they say and do, but from how other characters talk about them andreact to them-even from your own history. These characters may remind you of real orfictional people you have known.After you have seen the play, describe your reactions to the same characters on thestage. How closely did they match your expectations or differ from them? Whatsurprised you?
. Try a similar experiment with particular scenes (e.g. the lullaby sequence inBlood Wedding or the laundress scene in Yerma), by examining the characters'interactions and then comparing your study with how the scene is staged and acted atRepertorio Español.
. What is the difference between reading Lorca's lines and seeing them acted?Take one or more of the play's best speeches and analyze them in detail. Consider whyeach is important in the play, what makes particular words or images especially effectiveand memorable. Imagine different ways in which the lines might be spoken, the range ofexpression available by varying volume, speed, pitch, and pauses. What gestures orphysical attitudes or facial expressions do you imagine the actor might use for these lines?Listen for these passages in production and notice how they were spoken, which onesseemed especially important to the characters or to you, and which speeches seemedmore significant in the production than they had seemed when you read the play.
. Pay particular attention to the songs in Lorca's text. What does each contributeto the play's action or characters? How does each introduce or reinforce a mood, atheme, or a plot development? And how is each staged?
. The three García Lorca tragedies have thematic similarities. Based on yourreading and your theatrical experience, what do you think he tells us about the socialroles or positions of men and women, about violence, about women as tragic heroes,about the conflict between voices of conformity and voices of rebellion, or about theconflict between reason and passion?

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