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Ferrando, Mateu Rosa Anna. "El surrealismo en el teatro de vanguardia de Federico García Lorca: El público y Comedia sin título." Doctoral thesis, Universitat Jaume I, 2020. http://hdl.handle.net/10803/670073.
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El tema principal de la tesis es el análisis e interpretación de las obras teatrales El público (1930) y el único acto de Comedia sin título (1935-1936) de Federico García Lorca.
La producción dramática del autor se desarrolla a lo largo de la segunda y la tercera década del siglo XX, por ello, hemos expuesto la situación teatral en España durante ese periodo.
Es un momento en el que las vanguardias europeas ejercieron una notoria influencia en los jóvenes autores españoles de la época, por tanto, también profundizamos en el surrealismo francés y su llegada a España, ya que consideramos las obras analizadas surrealistas.
A partir de los manuscritos originales de las dos obras dramáticas, hemos realizado un analisis semiótico con sus diferentes niveles: sintáctico, semático y pragmático. Analizando los códigos verbales y no verbales, con la acción y la caraterización funcional de los personajes; el espacio y el tiempo teatral; los personajes y su simbología; y las diferentes puestas en escena de las dos obras teatrales.
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Bassuel-Lobera, Cécile. "Poésie plastique et plastique scénique : la dimension visuelle de théâtre de Fédérico Garcia Lorca (1925-1931)." Paris 3, 2007. https://tel.archives-ouvertes.fr/tel-01503813.
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Cette étude se propose d’analyser la dimension visuelle de trois pièces de Federico García Lorca, écrites entre 1925 et 1931 : Amor de don Perlimplín con Belisa en su jardín, El Público et Así que pasen cinco años. Partant des liens privilégiés qui ont uni le théâtre et les arts plastiques – particulièrement la peinture –, dès le milieu du XIXe siècle, je resitue l’Espagne dans le contexte culturel européen cosmopolite des années 20. Je m’intéresse aux relations que cet artiste protéiforme entretient avec les arts et les artistes de son époque, ainsi qu’aux diverses influences qu’il reçoit et qui ransparaissent autant dans les thèmes que dans la conception plastique de ses pièces. Baroque et Rococo, Symbolisme, Expressionnisme et Surréalisme s’interpénètrent et se répondent, dans des oeuvres qui stimulent sans cesse l’imagination du lecteur et du spectateur, activement associés au processus de création. Véritable « poésie plastique », comme Lorca se plaisait lui-même à la définir, son écriture dramatique devient le lieu de toutes les analogies, un lieu propice à la fusion des sensations et des émotions au coeur même des mots, l’écran de projection d’une multitude d’images, poétiques et plastiques, dont la fonction semble bien être de nous faire accéder aux mystères insondables de l’Homme. Mais Lorca ne se limite pas à une rénovation du théâtre par le texte. Dans la lignée de metteurs en scène de premier plan comme Appia, Craig, Copeau, Meyerhold et Artaud, c’est par l’utilisation de l’espace, de la lumière et par le jeu de l’acteur, par tous les moyens plastiques à sa disposition sur scène, qu’il réconcilie le verbe et le corpsThis study aims to analyze the visual dimension present in three plays written by Federico García Lorca between 1925 and 1931: Amor de don Perlimplín con Belisa en su jardín, El Público and Así que pasen cinco años. Taking as a point of departure the aspects that linked theatre and plastic arts (particularly that of painting) from the mid nineteenth century, an attempt is made to resituate Spain in the vaster cosmopolitan European cultural context of the Twenties. The study is also concerned with the relationships wraught by this versatile writer with the different arts and artists of the period, as well as with the diverse influences that he received and that can be seen not only at a thematic level but also in the plastic conception of his plays. Baroque and rococo, symbolism, expressionism and surrealism interact and respond to one another in works that constantly stimulate the reader or spectator’s imagination, actively linked to the creative process. Veritable « plastic poetry », as Lorca himself liked to call it, his dramatic writings become the place to which all analogies converge, a propitious place for the fusion of sensations and emotions at the very heart of the words he employs; a screen where an infinite number of images are projected, both poetic and plastic, whose function seems to be that of allowing us to fathom the deepest mysteries of Man. But Lorca does not stop at the renovation of the theatre by way of the text. In the line of stage managers of renown such as Appia, Craig, Copeau, Meyerhold and Artaud, it is by way of the use of space, of lighting, of the actors performance, and by all the other means at his disposal, that he is able to reconcile the body with the verb
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Valente, Uribe Paulina. "Federico García Lorca : Los Putrefactos." Tesis, Universidad de Chile, 2000. http://repositorio.uchile.cl/handle/2250/108766.
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La presente investigación pretende introducirse en parte de la poesía de Federico García Lorca para conocer un aspecto no dilucidado de la obra del poeta andaluz a través del término putrefacto. Se dará cuenta de la influencia y del impacto que el término produjo reflexionando, al mismo tiempo, acerca de este concepto relacionado con la literatura.
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Ferrada, Castro Susana. "Federico García Lorca: una obra teatral satírica." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399720.
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Federico García Lorca: una obra teatral satírica es el resultado de una investigación sin precedentes, pues, a pesar de lo mucho que se ha escrito sobre Federico García Lorca y su obra, la hipótesis en la que se ha fundamentado esta investigación implica una interpretación inédita de la obra lorquiana y, al mismo tiempo, supone una nueva percepción del poeta, al ahondar en una faceta de su controvertida personalidad de la que ningún otro investigador ha partido para analizar su obra. El propósito primordial de esta tesis consiste en demostrar que Lorca fue un satírico y que, por tanto, la sátira es una constante en sus obras, aunque no fueran concebidas íntegramente como sátiras. Federico García Lorca: una obra teatral satírica evidencia que lo cómico y lo serio, así como el innegable aspecto crítico, son rasgos satíricos intrínsecos a la obra lorquiana. Así mismo, demuestra que, sin descartar otras modalidades de su praxis dramática, Lorca llevó a cabo su crítica sirviéndose del humor, que oscila entre lo puramente jocoso y el humor negro, y se manifiesta mediante el empleo de técnicas tradicionales de la sátira, con idéntico propósito al del satírico: degradar a su objeto de ataque suscitando sonrisa o repulsa.
Federico García Lorca: una obra teatral satírica analiza en clave de sátira las farsas para actores y las “comedias irrepresentables”, identificando el objeto de ataque de la sátira lorquiana en estas obras y las técnicas satíricas empleadas por su autor. Además, este estudio prueba la afinidad de Lorca con otros satíricos, clásicos de la literatura española, e incide en la coexistencia entre tradición y vanguardia que Lorca empleó como un instrumento para satirizar. En este sentido, esta tesis ahonda en el vínculo del teatro lorquiano con la farsa, el entremés, la Commedia dell´arte, el teatro de títeres, la aleluya, los misterios medievales, el auto sacramental, el surrealismo y el teatro del absurdo desde una óptica satírica. En definitiva, esta tesis reivindica el aspecto satírico, presente de manera transversal en la obra de Federico García Lorca, que resulta ser determinante, pues da unicidad al corpus lorquiano y contribuye en gran medida a la universalidad de este autor.Federico Garcia Lorca: a satirical theatrical work is the result of an unprecedented investigation because, despite how much has been written about Federico García Lorca and his work, the hypothesis which has based this research involves a new interpretation of Lorca's work and at the same time, represents a new perception of the poet, to delve into a facet of his controversial personality than any other researcher has started to analyze his work. The primary purpose of this thesis is to show that Lorca was a satirist and, therefore, satire is a constant in his plays, although they were not conceived entirely as satires. Federico Garcia Lorca: a satirical theatrical work evidences comic and serious, as well as the undeniable critical aspect, are satirical traits intrinsic to Lorca's work. It also shows that, without ruling out other forms of his dramatic praxis, Lorca held his criticism making use of humor, ranging from the purely jocular and black humor, and is manifested by employing traditional techniques of satire, with the same purpose as the satirist: to degrade the object of attack sparking repulse or smile. Federico Garcia Lorca: a satirical theatrical work analyzes the farces for actors and the "impossible plays" identifying the object of attack in these plays and the satirical techniques employed by its author. In addition, this study proves the affinity of Lorca with other satirists, classics of Spanish literature, and highlights the coexistence of tradition and modernity that Lorca used as an instrument to satirize. In this sense, this thesis explores the link between Lorca´s theatre and farce, entremés, the Commedia dell'arte, puppet theatre, aleluya, medieval mysteries, auto sacramental, surrealism and theatre of absurd from a satirical perspective. In short, this thesis claims the importance of the satirical aspect that gives uniqueness to the entire production of Lorca and contributes greatly to the universality of this author.
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Růžičková, Eva. "Federico García Lorca - Krvavá svatba kostýmní výprava." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156118.
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The thesis it´s about theatre play Blood Wedding written by spanish author F. G. Lorca. In first theoretical part I briefly concentrate on author, his life and his life´s work. Than I analyze drama Blood Wedding with focus of symbols and metaphors, which are dominated in the play of Lorca. At the end of theoretical part I choose three performances of Blood Wedding from three different directors. I describe them and complete them with fotos from performances. In a practical part of my thesis I analyze all dramatical characters and give description and explication of their costumes, which I use.
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Fitzpatrick, Patricia A. "Inmanencia mística en la obra de Federico García Lorca." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/3335.
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The purpose of this dissertation was to analyze the works of Federico Garcia Lorca within the mystic context that dominates their very genesis. The problematic definition of mysticism was explored lest it be confused with traditional mysticism, which implies union with the divine. The historiography of literature speaks of the Mystic Genre, yet it does not address the mystic mode of artistic creation due to its inability to adhere to rational measure. This mode of conception was explored through Lorca’s poetic discourse: ‘Lorquian mysticism’ is the result of the poet’s cultivation of an innate spiritual potential enhanced by external influences and technical mastery.
There is visible influence of Fray Luis of Leon in Lorca’s early Libro de poemas and El maleficio de la mariposa, as well as of Saint John of the Cross in the later Divan del Tamarit, Sonetos de amor and Yerma. However, definitive echoes of poets from theSufi and other Eastern mystic traditions were also illustrated in these late works. A persistent longing to elide the physical condition, the greatest obstacle of the transcendental quest, is the essence of Lorca’s poetic voice.
The object of this analysis was Lorca’s language, which reaches levels removed from conventional thought. His dazzling metaphors and his particular use of symbols and of paradox compare equitably with those of great mystic poets. Like them, Lorca was faced with the same limitations of language to describe an ineffable experience; he embraced what Octavio Paz describes as ‘sacred language’: there is a linguistic frugality as well as an ambiguity in Lorca’s poetic art that result from his realization of super- cognitive states. Yet such an interpretation is rejected by the rationalist approach, invoking the age-old debate between faith and reason and signaling the application of psychoanalytical theory. This limited approach was disputed on the basis of reader- response theory. Lorca was truly an eclectic and a modification of the conventional reader’s preestablished horizon of expectations is essential in order to seal the gaps in his late works. This innovative perspective placed Lorca within the framework of a new mysticism in the modem world.
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Lindqvist, Madelene. "La luna en tres obras poéticas de Federico García Lorca." Thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-70271.
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La Luna en tres obras poéticas de Federico García Lorca trata de atender el significado de la luna en la obra lorquiana. El objetivo es investigar como la luna se presenta en las obras elegidas para ver si solo tiene una significación mortal en la obra lorquiana o si la hipótesis de que la luna tiene una significación variada se cumple. El método es analizar, en primer lugar el Romancero gitano (1928), con ayuda de investigadores anteriores y tratar de entender el sentido de los romances en los cuales la luna se presenta, para que luego se pueda entender el significado de la luna en cada parte. Luego, las respuestas del Romancero gitano se comparan con las respuestas de Libro de poemas (1921) y Diván del Tamarit (1936). La pregunta es: ¿Tiene la luna, solo una significación mortal en toda la poesía lorquiana, o tiene una significación variada? En estas tres obras la luna aparece como mujer, símbolo de la muerte, metáfora, la misma luna y símbolo de la vida. La luna tiene una significación variada en la obra lorquiana.
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Santos, Luciana Crestana dos. "Honra e honor nas tragédias rurais de Federico García Lorca." reponame:Repositório Institucional da UCS, 2009. https://repositorio.ucs.br/handle/11338/354.
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Os motivos de honra e honor na dramaturgia de Federico García Lorca. Análise da trilogia rural, Bodas de sangre, Yerma e La casa de Bernarda Alba. Os motivos de honra e honor e suas funções no desencadeamento das tragédias. Honra e honor como traços culturais da região de Andaluzia.Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-22T16:35:21Z No. of bitstreams: 1 Dissertacao Luciana C dos Santos.pdf: 504960 bytes, checksum: 7c78d65e33f25e995a6b1d656c653188 (MD5)
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Los motivos de honra y honor en la dramaturgia de Federico García Lorca. Análisis de la trilogía rural, Bodas de sangre, Yerma y La casa de Bernarda Alba. Los motivos de honra y honor y sus funciones en el desencadenamiento de las tragedias. Honra y honor como trazos culturales de la región de Andalucía.
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Retamar, Hugo Jesus Correa. "Federico García Lorca : de la teoría a la práctica del "Duende"." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16231.
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Filho da Andaluzia como o "cante jondo" e seu "duende", Federico García Lorca, um apaixonado por tal arte, foi um dos poetas espanhóis mais representativos do século XX. A relação entre o poeta de Granada e o "cante jondo" é profunda e importantíssima para a valorização da arte andaluza e inclusive para a compreensão da obra de Lorca. O "cante jondo", segundo o poeta, é o canto mais profundo, um canto escuro e misterioso onde a magia do "duende" se manifesta em um momento imóvel e único. Para Lorca, a arte espanhola é movida pelo "duende", espécie de espírito mágico, passional e original. Lorca também é considerado por muitos como um autor passional e muito apegado a sua terra. Poema del cante jondo é então uma viagem pelas entranhas de sua terra e uma busca constante pelo "duende" espanhol. Porém, como será que o duende de Lorca se manifesta em tal obra se é que isso acontece? O duende é amigo da improvisação, mas a constituição de um poema depende também da engenhosidade do poeta. Assim, através da análise dos poemas de Poema del cante jondo e do estudo de conferências do autor, bem como da história da Espanha e do cante jondo, tentaremos diagnosticar a poética de García Lorca para a construção deste seu livro de poemas, ou seja, estudaremos os procedimentos utilizados pelo poeta para que haja na obra o encontro mágico com o duende da arte andaluza. Passaremos da teoria do duende, conceituada por Lorca em uma de suas conferências, à análise da prática do autor para conseguir o efeito "duende" em sua obra.Hijo de Andalucía como el cante jondo y su duende, Federico García Lorca, un enamorado de tal arte, ha sido uno de los poetas españoles más representativos del siglo XX. La relación entre el poeta granadino y el cante jondo es profunda e importantísima para la valoración del arte andaluz y aun para la comprensión de la obra de García Lorca. El cante jondo, según el poeta, es el cante más profundo, un cante oscuro y misterioso en el que la magia del "duende" se manifiesta en un momento inmóvil e irrepetible. Para Federico, el arte español se mueve al compás del "duende", especie de espíritu mágico, pasional y original. Muchos también consideran a García Lorca como un autor pasional muy aferrado a su tierra. Poema del cante jondo es, entonces, un viaje por las entrañas de su tierra y una búsqueda constante por el "duende" español. Sin embargo, ¿cómo será que el duende de Federico se manifiesta en dicha obra? ¿Eso realmente ocurre? El duende es amigo de la improvisación, pero la constitución de un poema depende de la ingeniosidad del poeta. Así, a través del análisis de los poemas de Poema del cante jondo y del estudio de conferencias del autor, bien como de la historia de España y del cante jondo, intentaremos diagnosticar la poética de García Lorca para la construcción de su libro de poemas, es decir, estudiaremos los procedimientos utilizados por el poeta para que haya en la obra el encuentro mágico con el duende del arte andaluz. Pasaremos de la teoría del duende, conceptuada por García Lorca en una de sus conferencias, al análisis de la práctica del autor para lograr, en su libro, el efecto "duende".
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D'Ademo, Martina. "Jehová: proposta di traduzione dell'opera teatrale giovanile inedita di Federico García Lorca." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
Find full textAbstract:
Questa tesi si propone come obiettivo la traduzione di una breve opera teatrale inedita di Federico García Lorca.
L’opera, intitolata Jehová, è un componimento giovanile dell’autore in cui convergono tanti spunti e idee che gettano le basi per la formazione di una totalità completa dell’artista.
Jehová rappresenta la rottura degli schemi del teatro tradizionale dell’epoca e la volontà di rappresentare una nuova forma di affrontare i concetti tradizionali.
Pertanto, la tesi è strutturata in tre parti.
Nel primo capitolo si presenta Federico García Lorca, concentrandosi sui suoi anni giovanili, e sulla parte sperimentale delle sue opere, adattate al contesto delle avanguardie dell’epoca, sulla base della biografia di Ian Gibson Vida, pasión y muerte de Federico García Lorca (1998).
Dopo aver illustrato il contesto in cui si colloca l’opera, il secondo capitolo si concentra sul commento della traduzione dell’opera Jeohvá, proponendo un’analisi dei problemi di traduzione e della conseguente risoluzione sia a livello linguistico che extraculturale. Infine, il terzo capitolo è costituito dalla traduzione finale che dovrebbe rispecchiare quanto affermato nei capitoli precedenti, ovvero il contesto delle avanguardie che caratterizza Lorca, il suo carattere evasivo e sperimentale, e la sua impronta tra antico e moderno, che è di forte impatto per il pubblico dell’epoca.
Per concludere, la tesi è volta a far scoprire, attraverso un’opera inedita, e dunque meno conosciuta, come Federico García Lorca sia un artista multiforme, un artista totale, che permette a qualsiasi tipo di pubblico di sentirsi chiamato all’interno delle sue opere proprio per usarle come scuola di vita, come momento per poter esprimere anche la nostra sensibilità ultima.
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Costa, Soraya Borges. "Eros e Tânatos na poética de Federico García Lorca e Cecília Meireles." Universidade Federal de Minas Gerais, 2015. http://hdl.handle.net/1843/ECAP-9U5HHP.
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This study explores the mythical imaginary of Eros and Thanatos in the poetry by Federico Garcia Lorca and by Cecília Meireles. It aims to investigate thematic and formal relations of love and death in the symbolic reinvention of both. The myth ballast fertilizes and recovers both writers' poetries expressing psychological anguish and spiritual wonders related to desire and to finishing. In a particular way, each one of the writers creates a drama of symbols to figure love and death in their precariousness, incompatibility, and in their condition of ideality and fortune which makes unhappy and rejoices the Being. Therefore, the articulation of Eros and Thanatos, their encounters and fissures, their affinities and tensions, erect a mythopoetic of love and death which expresses motives, images and meanings. By creating other archetypes the Spanish and Brazilian poets forge two distinct situations: in one side the shock, the fight, the duel of Eros and Thanatos based on the antithesis which keeps the oppression alive; in the other hand, the union, the conciliation between love and death based on the synthesis which focuses on totality and integration. That is why the myth is alive. In human's psychological life, myths represent an emblem of different tendencies from perversion to sublimation. Furthermore, Lorca and Meireles' poetries, Eros and Thanatos' relation tends to gravitate in the extremes: from destruction to totality, from separation to integration, to finity to transcendency, from antithesis to synthesis, then, from shock to conciliation. The whole symbolism occurs by the by the comparative exercise of mythocriticism based on criticism of imaginary, such as anthropological theory of imaginary, according to Gilbert Durand's work. The theoretical instrument proposed by Durand refers to the dynamism which creates imagination and directive strength of myths in representative productions of culture of all times. Besides the subsidy of hermeneutics of symbols, this current research also reports to comparitive literature procedures and to investigative works about Eros and Thanatos developed by Georges Bataille and Sigmund Freud, the erotic impetus and the destruction impetus. Thus, the study of symbolic reinvention of love and death in these writers's poetry presents points of proximities and dissonances. Although the symbolic myth gestation brings them closer and marks boundaries of junctions, the elaboration which expresses the myth separates them. In Federico Garcia Lorca's poems, the resumption, most of the times, intensifies an impotence of the poetry within a world which disclaims it; meanwhile the archetypal matrix in Cecilia Meirele's poems estabilishes in poetic space a fragile exit facing the hostile reality by forging atemporal in ephemeral reality.Este estudo explora o imaginário mítico de Eros e Tânatos na poesia de Federico García Lorca e Cecília Meireles. O objetivo é investigar as relações temáticas e formais do amor e da morte na reinvenção simbólica de ambos. O lastro do mito fertiliza e reveste suas poéticas exprimindo as angústias psicológicas e as inquietações do espírito relativas ao desejo e ao acabamento. Ao seu modo, cada qual tece um drama de símbolos representando o amor e a morte em sua precariedade, em sua incompatibilidade, em sua condição de idealidade e ventura que infelicitam o ser e o fazem rejubilar-se. Assim, a articulação de Eros e Tânatos, seus encontros e fissuras, suas afinidades e tensões, erigem uma mitopoética constelando motivos, imagens e sentidos. Ao remitologizar esses arquétipos, o poeta espanhol e a brasileira forjam duas situações distintas: por um lado, o embate, a luta, o duelo de Eros e Tânatos ancorado na antítese que mantém viva a opressão; e, por outro lado, a união, a conciliação do amor e da morte ancorada na síntese que tem em mira a totalidade ou a integração. É por isso que o mito vive. Na vida psíquica do homem, os mitos emblemam tendências opostas que vão da perversão à sublimação. Por conseguinte, na poética lorquiana e ceciliana, a relação de Eros e Tânatos tende a gravitar nesses extremos, da destruição à totalidade, da separação à integração, da finitude à transcendência, da antítese à síntese, enfim, do embate à conciliação. Todo esse simbolismo desenreda-se mediante o exercício comparado da mitocrítica que se funda nos aportes da crítica do imaginário, segundo os trabalhos de Gilbert Durand. Esse instrumental teórico referenda o dinamismo criador da imaginação e a força diretiva dos mitos nas produções representativas da cultura de todos os tempos. Além dos aportes da hermenêutica simbólica, a pesquisa reporta-se aos procedimentos da literatura comparada e aos trabalhos investigativos de Georges Bataille e Sigmund Freud sobre Eros e Tânatos, o impulso erótico e o impulso de destruição. Isso posto, o estudo da reinvenção simbólica do amor e da morte nessas poéticas exibe aproximações e dissonâncias. Ainda que a prenhez simbólica do mito os aproxime demarcando encontros, a elaboração que resulta na expressão do mito distancia-os. Em Federico García Lorca, a retomada, muitas vezes, acirra a impotência da poesia diante do mundo que a renega; enquanto a matriz arquetípica em Cecília Meireles, ao forjar o intemporal no real efêmero, instaura no espaço poético uma saída frágil em face da realidade adversa.
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SOUZA, Marcella Macêdo Sampaio de. "O amor, a liberdade e a morte: diálogo entre a casa de Bernarda Alba e os sete gatinhos." Universidade Federal de Pernambuco, 2002. https://repositorio.ufpe.br/handle/123456789/7881.
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Previous issue date: 2002Propusemo-nos fazer, nesta dissertação, uma análise das convergências e interseções das obras teatrais A Casa de Bernarda Alba, de Federico García Lorca, e Os Sete Gatinhos, de Nelson Rodrigues, sob a perspectiva do Amor, da Liberdade e da Morte. Estudamos a interação dos temas entre si e sua relação com as obras citadas, e analisamos as coincidências na estruturação das tramas e na composição das personagens levando em consideração os princípios de autoridade e liberdade, por onde os caminhos da manifestação da sexualidade/desejo são conduzidos
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Novoa, González Mónica. ""Toda la luz del mundo cab dentro de un ojo". Federico García Lorca." Tesis, Universidad de Chile, 2007. http://www.repositorio.uchile.cl/handle/2250/101681.
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Aubé-Bourligueux, Jocelyne. "Images récurrentes et construction du moi poétique dans l'œuvre de Federico García Lorca." Paris 4, 1998. http://www.theses.fr/1998PA040240.
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Dans cette thèse, il s'agit d'examiner l'apparition et la réapparition d'images centrales, en relation avec la structure progressive de la personnalité à la fois vitale et créatrice de Federico Garcia Lorca. Dans une première partie, l'examen porte sur la formation de l'image de la femme, à partir de textes de jeunesse en prose et en vers présentés comme autobiographiques, ou issus de sources culturelles traditionnelles, en particulier orientales. Dans une seconde partie, l'analyse permet de retrouver dans les œuvres du poète de Grenade les images obsessives préalablement créées (dont celle d'une petite fille blonde portant des tresses) et de les suivre dans leur évolution artistique à travers la production littéraire jusqu'aux dernières pièces représentées : Yerma et Dona Rosita la soltera. La troisième partie concerne le thème du «peuplier » et son traitement artistique : car il s'agit là d'un arbre «axial » pour la formation de l'être, depuis l'enfance, «alamo» ou «chopo» autour duquel s'articule la création poétique lorquienne depuis les premiers morceaux rédigés de « mpresiones y paisajes», jusqu'aux derniers poèmes de Diván del Tamarit et aux Sonetos del amor oscuro. Enfin la quatrième partie concerne l'image du vin, une boisson qui résonne d'abord des antiques accents de l’Iran, à travers «el elogio del vino » d’Omar Khayyâm et qui devient le breuvage progressivement interdit, dans les écrits rédigés au cours du voyage aux États-Unis du poeta en Nueva York. L'étude montre qu'une grille de lecture très cohérente est ainsi peu à peu élaborée par Federico Garcia Lorca.
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Velasco, Joseph. "Recherches sur l'œuvre poétique de Federico García Lorca : tradition populaire et influences savantes." Toulouse 2, 1986. http://www.theses.fr/1986TOU20002.
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Après une introduction visant à situer une œuvre constamment issue d'une réalite humaine que ne peut étouffer la diversité des expériences tentées dans le cadre de la transfiguration littéraire, quatre chapitres sont consacrés à chacun des quatre recueils poétiques qui jalonnent la carrière de Lorca: le "Libro de poemas", le "Poema del cante jondo", le "Romancero gitano" et "Poeta en Nueva York". Un cinquième chapitre étudie la poésie au théâtre. Alternant avec ces temps forts, quatre autres chapitres traitent des questions plus générales que la critique a de tout temps soulevées à propos de cette œuvre: les relations de Lorca avec sa génération, celle de 1927, et la place qu'il y occupe; l'influence de Gongora; le problème de la sexualité et, enfin, celui de son engagement humain, social et politique. Le caractère très divers des sujets abordés n'exclut pas l'unité que veut conférer à cet ensemble le double fil conducteur précisé par le sous-titre : tradition populaire orale et écrite, d'une part ; influences culturelles au sens le plus large, de l'autre. Ce qui ne signifie nullement que la thèse soutenue se limite à cette problématique. Chaque chapitre contient, en effet, une étude détaillée des principales pièces du recueil concerné - de toutes pour le "Romancero gitano", intégralement analysé sur près de 350 pages -, dans une perspective à la fois chronologique et biographique, c'est-à-dire avec une volonté d'objectivité que s'efforce de mener à bien l'interprétation littérale des textes, toujours et partout placée au premier plan. Terminent ce travail un index bibliographique de plus de 400 titres réellement utilisés et cités dans l'ouvrage, et deux appendices : le premier portant sur le symbole politique abusivement et malhonnêtement attribué à la figure de Lorca par les officiels de l'Espagne franquiste ; le second offrant au lecteur un ensemble d'autographes lorquiens inédits et de documents épistolaires en relation avec les 15 années de recherches auxquelles cette thèse a donné lieu. Est prévu, pour les besoins de la publication, un index des poèmes citésAfter an introduction which aims at assigning a place to a work constantly stemming from a human reality which the various experiences attempted by the poet within the framework of literary transmutation were unable to stifle, four chapters are devoted to each of the four collections of poems with which Lorca's career is punctuated: the "Libro de poemas", the "Poema del cante jondo", the "Romancero Gitano" and "Poeta en Nueva York". A fifth chapter is devoted to the study of poetry in the plays. Alternating with these various climaxes, four other chapters deal with more general issues that the critics have for ever been bringing up for discussion about his work: Lorca's relationships with his generation, that of 1927 and his place in their midst, Gongora's influence, the problem of sexuality and, lastly, the problem of his human, social and political commitments. The great variety of subjects dealt with in this thesis does not preclude the unity that the two main themes specified by the subtitle intend to bestow on the whole: the oral and written popular tradition, on the one hand; cultural influences in the widest sense of the word, on the other. This does not mean in the least that the thesis upheld is limited to the nature of these problems. Indeed, each chapter contains a circumstantial study of the main poems of the collection concerned, of all the poems in the case of the "Romancero Gitano", fully analyzed over nearly 350 pages, from a both chronological and biographical viewpoint, that is to say with a will to remain unbiased; such is the purpose of the literal interpretation of the texts which has, always and everywhere, been uppermost in the author's mind. At the end of this doctoral thesis, the reader will find a bibliographical index comprising over 400 titles actually mentioned in the work and two appendices: in the first one, the author focuses his attention on the political symbol wrongly and dishonestly foisted on Lorca's figure by the officials of Franco's Spain; the second provides the reader with a collection of hi
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Kristiánová, Lenka. "Garcia Lorca: "Mariana Pinedová" - komplexní kostýmní řešení." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-251471.
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The topic of my thesis is a play Mariana Pined, written by F.G. Lorca, the most signif-icant Spanish dramatist and poet of the 20th century. My thesis is divided into two main parts.
The first theoretically historic part briefly introduces author's live and surroundings that strongly influenced his work and his motivation for writing dramas. This part also shortly summarises the historical and political background in context with its direct influence on his work. In addition, I would like to outline the situation, which became the foundation for story development of the main character, historical figure Mariana Pined and her faith, not dissimilar to the faith of the author.
The second part of my thesis focuses on the revelation and description of the psy-chological profile of the individual characters with regards to their meaning in the plot, their motivation and analysis of names and presented symbols. I briefly sketch the plot of the drama and breakdown some situations and their consequences. Subsequently I come to my own concept of colours, shapes, costume designs and the atmosphere. Eventually I attach varieties of visual propositions of the costume solution, its development with respect to the storyline, its transformation and I would like to bring attention to the importance and necessity of costumes in the overall viewer's experience.
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Lacroix, Anne Gabrielle. "Les anges dans l'oeuvre poétique de Gerardo Diego, Rafael Alberti et Federico García Lorca." Perpignan, 2003. http://www.theses.fr/2003PERP0510.
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La figure de l'ange est particulièrement présente dans l'œuvre poétique de G. Diego, R. Alberti et F. Garcia Lorca. Ce travail analyse en premier lieu les rapports que ces trois poètes établissent entre la créature céleste et le monde. Influencés par leur éducation religieuse et leur milieu, ils évoquent sa nature, sa vocation et son action sur l'univers. La seconde partie s'intéresse aux liens qui unissent les anges et l'homme. Les trois poètes décrivent des apparitions et construisent des représentations mentales de l'ange. Certains moments de la vie -péché, mort, solitude, rêve, souffrance- sont propices à sa présence et l'associent à la condition humaine : soumis au temps et à la matière, il prend corps et devient symbole de l'amour. Sont étudiées, enfin, les relations existant entre l'ange et la culture. Douée d'intelligence, capable de communiquer, l'entité spirituelle agit sur la volonté de l'homme et inspire ses productions artistiques. L'étude comparée, à la fois thématique et stylistique, du motif de l'ange chez Diego, Alberti et Lorca révèle en fin de compte les relations que ces trois poètes entretiennent avec Dieu, l'homme et leur environnement spatio-temporelThe character of the angel is well represented in the poetic works of G. Diego, R. Alberti and F. Garcia Lorca. This work will first analyse the links the above three poets establish between the heavenly creature and the world. Influenced by their religious upbringing and surroundings, they evoke its nature, its calling and its effect on the universe. The second part will examine the links between angels and Man. These three poets describe apparitions and build up mental images of angels. Specific moments in life -sin, death, loneliness, dream, suffering- are propitious to its appearance and tie it to the human condition : enslaved by time and matter, it takes human form and becomes the symbol of love. Lastly, we will study the relationship between angel and culture. Endowed with intelligence and capable of communicating, the spiritual being can act upon man's will and inspire his artistic works. The contrasting study, both through theme and style, of the recurring angel leitmotiv in Diego, Alberti and Lorca shows finally the relationships these three poets maintain with God, Man and their own direct environment
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Divett, Andrew Brennan. "Musical Ekphrasis in the Poetry of Nicolás Guillén, Federico García Lorca, and Langston Hughes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955012/.
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Musical ekphrasis was occurring in the twentieth century in different centers around the world, Cuba: Andalusia, Spain; and Harlem, New York, simultaneously. The writers at the heart of this movement used poetry about music as a means to celebrate the cultures of the marginalized people in their lands, los negros, los gitanos, and African-Americans. The purpose of this study is to define musical ekphrasis and identify it in the works of Nicolás Guillén, Federico García Lorca, and Langston Hughes. Also explored are the common characteristics in ekphrastic poetry by the three poets and the common themes found in their ekphrastic poetry, as well as common influences. Each author is considered in the context of his surroundings and his respective culture, and how that influenced his musical tastes as well as his writing style.
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Nandorfy, Martha. "La trayectoria de los discursos poéticos en Poeta en Nueva York de Federico García Lorca." Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/5148.
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Piccioni, Sara <1977>. "Convenzionalità e creatività della metafora: il caso di “NOME de NOME” in Federico García Lorca." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/945/1/Tesi_Piccioni_Sara.pdf.
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Piccioni, Sara <1977>. "Convenzionalità e creatività della metafora: il caso di “NOME de NOME” in Federico García Lorca." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/945/.
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Santos, Gisele Cristina Rosa dos. "As palavras não morrem jamais : análise e comentário de textos não literários de Federico García Lorca." reponame:Repositório Institucional da UnB, 2006. http://repositorio.unb.br/handle/10482/19108.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2006.Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-01-04T19:21:29Z No. of bitstreams: 1 2006_GiseleCristinaRosaDosSantos.pdf: 4134655 bytes, checksum: a1cf29e20df7e97714b7a48b06522e93 (MD5)
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O propósito deste trabalho cientifico e a analise e o comentário de textos não literários de Federico Garcia Lorca, referentes aos gêneros Cultura Popular Espanhola e Teatro, que contem informações sobre o processo criativo do dramaturgo. Estas fontes foram transcritas e compiladas pelos seguintes organizadores: Andrew A. Anderson e Christopher Maurer; Arturo Del Hoyo; e, Miguel Garcia-Posada. Assim sendo, a metodologia deste trabalho incidiu na apropriação do procedimento básico da Critica Genética, de Cecília Almeida Salles, para a realização da pesquisa de fonte proposta. O referido procedimento sofreu um determinado nível de adaptação porque as fontes analisadas não são documentos autógrafos, ou seja, do próprio punho do seu autor que, neste caso, passaram por processos distintos de publicação. Por conseguinte, este trabalho visa identificar, por meio de levantamento, analise e comentário dos índices do processo criativo do dramaturgo, existentes nas fontes consultadas, a forma de fundamentação da coerência da proposta estética nas obras de Lorca e no Teatro Universitário La Barraca com base na influencia da cultura popular espanhola. ______________________________________________________________________________________________ ABSTRACT
The purpose of this scientific paper is to analyze and commentate on non-literary texts by Federico Garcia Lorca on the genres of Spanish Folk Culture and Theater, which provide information on the playwright’s creative process. These sources have been transcribed and compiled by the following organizers: Andrew A. Anderson and Christopher Maurer; Arturo Del Hoyo and Miguel Garcia-Posada. Hence, the approach for this paper had an influence on the appropriation of the basic procedure of Genetic Critique by Cecilia Almeida Salles for the research of the sources considered. This procedure required a certain degree of adaptation because the sources considered are not autograph documents, that is, were not written by the author himself. In this case, the sources underwent different publishing processes. The purpose of this paper, therefore, is to perform a survey, analysis and commentary of the cues used by the playwright in his creative processes and that are found in the sources considered in order to identify how coherent Lorca’s works and the University Theater troupe (also known as La Barraca) are in aesthetic terms based on the influence of Spanish folk culture.
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Alves, Syntia Pereira. "Teatro de García Lorca: a arte que se levanta da vida." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/3363.
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Previous issue date: 2011-12-09Conselho Nacional de Desenvolvimento Científico e Tecnológico
Was Federico García Lorca a political agent? This is the question that frames the research here presented. However, this question must be split in two in order to be properly answered: first, who was García Lorca, taking into account his life and work; second, the several possibilities for political action. Politics is not restricted to the institutional realm, but permeates individual and societal relationships, being present both in public and private affairs, touching and being touched by art. A tragic artist, Federico García Lorca constitutes the main focus of this research. To find the politics in Lorca, it is essential to understand the relationship between his art and his life and society. With that in mind, the investigation starts from both external and internal analyses of Lorca's works. The external analysis explores Spain before its Civil War, given the importance of the period which is mirrored in Lorca's works. For internal analysis, the theatrical pieces Yerma and The House of Bernarda Alba were analyzed to investigate both the relationships among characters, and the social conventions shown in these works. Furthermore, a number of conferences and interviews with the author are employed in a dialogue with the theatrical works, with the goal of understanding his relationships with art and society. García Lorca's art, voiced by flamenco, communicated with his society and received an answer: death by firing squad. Lorca wasn't limited to his own time and space, but survives today, be it through his deeply disquieting art, or be it through his still mystery-shrouded death
Federico García Lorca foi um agente político? Sobre este questionamento se desenvolve a presente pesquisa. Porém, para responder a essa pergunta, é fundamental dividi-la em duas, voltando um olhar para quem foi García Lorca levando em consideração sua vida e obra e outro olhar para as diversas possibilidades de atuação da política. A política não está apenas no âmbito institucional, mas permeia as relações dos indivíduos e sociedades, se faz presente nos âmbitos público e privado, alcançando e sendo alcançada pela arte. Artista trágico, Federico García Lorca é o foco central deste estudo. Para buscar a política em Lorca, é fundamental entender a relação de sua arte com a sociedade e a vida do escritor. Para tanto, a investigação parte de uma análise externa e uma análise interna a obra de Lorca. A análise externa mapeia a Espanha que antecede a Guerra Civil Espanhola, tendo em vista a importância desta época que se encontra refletida na obra de Lorca. Para análise interna foram escolhidas as obras teatrais Yerma e A casa de Bernarda Alba, sobre as quais é feita uma análise das relações das personagens entre si e os códigos sociais que essas obras expõem. Além disso, são usadas para dialogar com as obras teatrais algumas conferências e entrevistas do autor, com a finalidade de entender sua relação com a arte e com a sociedade. A arte de García Lorca, entoada pelo flamenco, dialogou com sua sociedade e recebeu resposta desta: seu fuzilamento. Mas Lorca não coube em seu tempo e espaço e transborda para os dias de hoje, seja por sua arte, profundamente inquietante, seja por sua morte, até hoje envolta em mistérios
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Santos, Gisele Cristina Rosa dos. "A geopoética do espaço no teatro : relação entre espaço e paisagem na dramaturgia de Federico García Lorca." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/19668.
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Tese (Doutorado) – Instituto de Artes da Universidade de Brasília, Programa de Pós-Graduação em Arte, 2014.Submitted by Tania Milca Carvalho Malheiros (tania@bce.unb.br) on 2016-02-29T15:36:41Z No. of bitstreams: 1 2014_GiseleCristinaRosadosSantos_Parcial.pdf: 167888 bytes, checksum: b3504d8ff67a14a06e926a33621dd536 (MD5)
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Esse doutoramento propõe um olhar subjetivo a respeito dos textos dramatúrgicos Mariana Pineda, Yerma, Bodas de Sangue e A Casa de Bernarda Alba, da coletânea Impresiones y Paisajese da conferênciaJuego y teoríadel duende, de autoria do poeta-dramaturgo espanhol Federico Garcia Lorca (1898-1936), à luz do conceito de Geopoética, do autor escocês Kenneth White. A Geopoética é uma teoria transdisciplinar que versa a respeito da relação do homem com a Terra. Pela perspectiva desse olhar, pretendo verificar a existência e a convergência de elementos geopoéticos nos textos supracitados, e buscar uma compreensão mais ampla a respeito da relação do poeta-dramaturgo com o contexto geográfico espanhol pelo viés da sua dramaturgia. O corpus dessa pesquisa foi estabelecido pelo desafio de experimentar a teoria supracitada de modo a criar um campo de diálogo interdisciplinar que privilegia as linguagens cênica, dramatúrgica, poética, geográfica e científica, a partir do teatro contemporâneo. Os traços culturais universais, o olhar sobre o espaço e a paisagem, e a valoração simbólica destes, excedem as marcas do tempo e podem corroborar tais elementos na escrita de F. G. Lorca antes mesmo do surgimento desse conceito. Desse modo, configura-se a pedra angular desse doutoramento pelo viés da afluência de saberes do teatro e da geografia, da dramaturgia e da geopoética para construção / transmissão de conhecimento por meio de uma linguagem artística. Esse doutoramento segue o movimento contemporâneo de investigação científica que conecta as disciplinas Arte e Literatura à Geografia, e visa abrir outro horizonte de diálogo interdisciplinar ao aliar os princípios da Geopoética à Dramaturgia.
This PhD thesis proposes a subjective perspective of view about Federico García Lorca’s plays Mariana Pineda, Yerma, Blood Wedding and The House of Bernarda Alba, his collection Impresiones y Paysajes, and his conference Juego y teoríadelduende, according to the concept of Geopoetics, elaborated by Kenneth White. Geopoetics is a transdisciplinarytheory about the relationshipbetweenhumankind andthe planet Earth. From the perspective of this view, I intend to verify the existence and convergence of elements of geopoetics in Lorca’s literary texts, and seek a broader understanding about the poet-playwright connection with the Spanish territory. Thecorpusof this researchwas established aimingto experience with the aforementioned theoryto createa field of dialog that privilegesscenic, theatrical, poetic, geographicand scientificlanguages.Some aspects of Lorca’s texts like universalcultural traits, the way he used to observe thespace andthe landscape, and used to value its symbology, exceeded the marks of time. Furthermore, the mentioned aspects reveal the characteristicsof geopoetics in Lorca’s texts, beforeK.Whiteelaborate this concept. Thus, the cornerstoneof thisPhD thesis is setatthe confluenceof knowledgeof theater andgeography, dramaturgy and geopoeticsforconstruction /transmission ofknowledge throughan artistic language.This thesisfollows thecontemporarydynamics ofscientific researchesthat connectsArt and Literature toGeography,and aims to open another horizon of interdisciplinary dialogue by combining the Geopoetics with Dramaturgy.
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Cobo, Esteve Marta. "La herencia del teatro clásico en el esperpento de Valle-Inclán y las farsas de Federico García Lorca." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/392727.
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El punto de partida de la presente tesis doctoral es aproximar de nuevo con rigor a los dos grandes dramaturgos españoles que el siglo XX ha dado a la literatura española: Ramón del Valle-Inclán y Federico García Lorca. Una aproximación con la que observar de qué forma Valle-Inclán se convierte en el precedente perfecto para que García Lorca pueda llevar a cabo su revolución teatral, es decir, cómo el poeta necesita del dramaturgo gallego para trazar nuevos caminos teatrales. Un estudio con el que se pretende además mostrar el modo en que ambos dramaturgos, cada uno de manera distinta, retomaba lo que la gran tradición del teatro clásico español del Siglo de Oro le ofrecía, para construir un camino con el que dar respuesta al problema que venía arrastrando la escena teatral española desde mediados del siglo XIX.
A partir de las teorías de Buero Vallejo acerca de la actitud del poeta granadino frente al esperpento, se intentar iluminar la contingencia entre ambos autores al ir desgranado cómo funciona, por un lado, en el esperpento, y por otro, en las tres farsas del ciclo lorquiano, la influencia del teatro áureo. Es por ello que en este trabajo se recogen los detalles de ese cruce de caminos entre la tradición del Siglo de Oro y la necesidad de renovación teatral que latía en el sentir de Valle-Inclán y de Federico García Lorca, tras muchos años de ostracismo y decadencia que venía arrastrando el teatro español; de qué modo el dramaturgo gallego retoma de nuevo nuestros clásicos, para que pocos años más tarde, García Lorca, dando un paso más, consiga no solo usarlos para construir sus farsas, dramas y tragedias, sino también sacarlos a la luz para darles el sitio que se merecen, subirlos de nuevo a escena para demostrar que seguían siendo eternos y universales, del mismo modo que lo terminaron siendo sus obras.Through this thesis, I aim to shed light on the dialogue with tradition which the esperpentos of Ram& del Valle-Iclan and the farces of Federico Garcia Lorca represent. Said dialogue is the starting point of the transformation of Spanish theatre at the beginning of the 20th century. What's more, the detailed study of the genres, motifs, characters and themes related to these esperpentos and farces, in light of golden age theatre, provides evidence for how the Granada born playwright, with the objective of founding a new way of creatring and understanding theatre, surpassed the dramatic purpose of Valle-Incan's esperpento. Furthermore, it allows for an insight into how 17th century theatre left its mark on the pages of both works and, thereby achieving renewal in the Spanish theatre scene, which was set in the way of the superficial dramas of Echegaray and the Quintero brothers at the beginning of the 20th century. The aforementioned analysis was carried out with conviction of the need for a meticulous examination of these intersections, firstly in the texts that make up Mattes de Carnaval, as a necessary initial step in order to fully understand the intention of Federico Garcia Lorca in the three works that make up his so-called ciclo farsesco. Therefore, in the present document the works of both playwrights have been analysed in detail through the filter of the great classic of baroque theatre and the revision of critical works regarding golden age theatre in order to observe that said studies in their majority address the themes of superficiality, lightness and the fact of forgetting. By remaining within the textual footprints of the 17th century it becomes evident that they illuminate the writings of both authors. Said writings intended to respond to the bourgeois, superficial theatre of monopolised the setting at the beginning of 20th century and at the same time unveil the dark side of the spectator.
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Laurence, Adelina. "Représentations de la femme dans le théâtre espagnol contemporain. Corps et sexualité chez Laila Ripoll et Federico García Lorca." Thesis, Poitiers, 2019. http://www.theses.fr/2019POIT5001.
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L'Espagne a connu de grandes transformations sociétales et dans la recherche, notamment dans le domaine des études de genre, thématique aujourd'hui omniprésente. Le théâtre est un art qui joue un rôle prépondérant dans l'évolution intellectuelle d'un pays et dans le changement des mentalités. Il permet ainsi de mettre en exergue l'évolution du rôle de la femme au fil des années. Federico García Lorca et Laila Ripoll analysent le rôle de la femme sous l'influence des conventions sociales, à travers le poids de la tradition et le confinement dans l'espace domestique en tant que mère et épouse. Cette image de la femme, ancrée dans l'imaginaire collectif, est contestée par les études de genre. En effet, il s'agit d'une construction sociale qui n'est pas innée : la relation entre l'identité sexuelle, l'orientation sexuelle et les représentations sont variables d'un individu à l'autre. Les personnages étudiés présentent des indices d'évolution, mettant en lumière les transformations auxquelles la société est confrontée. En dépit du poids de la société patriarcale, elles vont se rebeller, prendre des caractéristiques traditionnellement considérées comme masculines et affirmer leur sexualité même si cette attitude les conduira à être rejetées socialement. Le rapport au sexe, et par extension au corps, fait encore débat. Son corps ne lui appartient pas, il appartient à la société qui exige la perfection. Son corps est possédé à travers la domination érotisée, la violence machiste, la mutilation ou encore la mort. Ainsi, le corps de la femme, représentée sur scène, est sexualisé et soumis à l'injonction du patriarcat, ce qui a des conséquences sur les femmes dont le corps est stigmatiséSpain has known great social transformations that can be seen reflected in the different investigations performed, especially in the area of gender studies, omnipresent subject nowadays. Theatre as a branch of scenic art develops a key role in the development of an intellectual evolution of a country as well as in the change of mentality, this last one being seen in that it allows us to stand out the evolution of the role of women throughout the years. Federico García Lorca and Laila Ripoll analyze the role of women under the yoke of social conventions articulated through the weight of tradition and the confinement in the domestic space as mother and wife. Gender studies judge this image of women implanted in the collective imaginary demonstrating that that it is indeed a social construct and not an innate condition given that the relation between sexual identity, sexual orientation and the representations of each are different in each individual. The characters studied in our investigation show hints of development, manifesting the transformations that society goes through. Despite the weight of patriarchal society, they rebel taking characteristics traditionally known as manly and affirming their sexuality, even at the risk of social rejection. The relationship with sex, and by extension the body, still is a debate theme as they feel that their body is not theirs but of society, which demands of it perfection. Their body is possessed through erotized domination, patriarchal violence, mutilation or even death. This way, the body of the woman, represented in scenery, is sexualized and submitted to patriarchal order, which carries consequences on these women whose body is stigmatized
España ha conocido grandes transformaciones sociales que se ven reflejadas en las diferentes investigaciones que se realizan, especialmente en el campo de los estudios de género, temática a día de hoy omnipresente. El teatro como rama del arte escénico desempeña un papel clave tanto en la evolución intelectual de un país como en el cambio de mentalidades, ejemplo de esto último es que permite poner de relieve la evolución del rol de la mujer a lo largo de los años. Federico García Lorca y Laila Ripoll analizan el papel de la mujer bajo el yugo de las convenciones sociales articuladas a través del peso de la tradición y el confinamiento en el espacio doméstico como madre y esposa. Los estudios de género ponen en tela de juicio esta imagen de la mujer implantada en el imaginario colectivo pues demuestran que se trata de una construcción social y no de una condición innata ya que la relación entre la identidad sexual, la orientación sexual y las representaciones de las mismas son distintas en cada individuo. Los personajes estudiados en nuestra investigación presentan indicios de evolución, poniendo de manifiesto las transformaciones a las que la sociedad se enfrenta. A pesar del peso de la sociedad patriarcal, se rebelan tomando características tradicionalmente consideradas como masculinas y afirmando su sexualidad, incluso con el riesgo de que esta actitud traiga consigo el rechazo social. La relación con el sexo, y por extensión con su cuerpo, sigue siendo tema de debate pues sienten que su cuerpo no les pertenece sino que pertenece a la sociedad que le exige la perfección. Su cuerpo es poseído a través de la dominación erotizada, la violencia machista, la mutilación o incluso la muerte. De este modo, el cuerpo de la mujer, representado en el escenario, se sexualiza y está sometido al orden patriarcal, lo que acarrea consecuencias sobre estas mujeres cuyo cuerpo se estigmatiza
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da, Silva Filho José Francisco. "Un análisis mitopoético e imaginal de La casa de Bernarda Alba, de Federico García Lorca, y Dorotéia, de Nelson Rodrigues." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/133267.
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Esta investigación tiene como propuesta analizar las obras dramáticas La casa de Bernarda Alba, de Federico García Lorca (1898–1936) y Dorotéia, del brasileño Nelson Rodrigues (1912-1980), desde el marco de la literatura comparada. Se ha buscado elucidar no tanto los elementos visibles y explícitos que pueden aproximan ambos textos, sino desentrañar más el aspecto simbólico, implícito y mítico que conllevan en su interior. Como uno de los objetivos de este trabajo es hacer un análisis mitopoético, el primer capítulo inicia con algunas reflexiones sobre el concepto de mito. En la búsqueda por crear un campo de diálogo entre los relatos míticos con el corpus literario matriz de esta investigación, la segunda parte de este capítulo está dedicada a las imágenes bajo el enfoque de la psicología arquetípica, de donde se ha extraído el concepto de lo “imaginal” que apunta el modus operandi de este ensayo. Como el tipo de análisis propuesto se inserta en el ámbito mitopoético, el segundo capítulo aproxima los dos textos modernos a los relatos mítico de Psique y Perséfone. Estos dos personajes femeninos bajan al reino del inframundo, donde logran un crecimiento interior, lo que se asemeja a los procesos psíquicos vividos por los personajes principales de las obras que elegimos para esta investigación. Este capítulo, también aborda el género dramático y el teatro de Nelson Rodrigues y García Lorca, autores de las obras que consagramos para este ensayo. El tercer capítulo desarrolla un ejercicio de comparación entre Dorotéia y La casa de Bernarda Alba: primero, se aborda lo femenino y la familia como temas arquetípicos; luego, el hogar, la religión y la sexualidad como temas circundantes; y, finalmente, se aproximan las historias de Dorotéia y Psique y de La casa de Bernarda Alba y Perséfone. El último capítulo se compone de dos apartados: uno trata de los sentimientos inferiores y otro de las imágenes “almadas” de las obras –medios utilizados para acceder a la realidad psíquica de los personajes. Debido a la importancia dada a la imagen en este trabajo, hemos seleccionado unas fotografías de montajes de Dorotéia y La casa de Bernarda Alba, relacionándolas con las cuestiones que hemos tratado en los dos últimos capítulos de esta tesis, imágenes que se reproducen en el anexo de esta tesis.The intention of this research is to analyse the dramatic texts La casa de Bernarda Alba by Federico García Lorca (1898-1936) and Dorotéia by the Brazilian Nelson Rodrigues (1912-1980) from the comparative literature framework. It has been seek not just to clarify the visible and explicit element that approximate both texts but to develop the symbolic, implicit and mythic aspect the carry within. As the aim of this work is to do a mythopoetic analysis, the first chapter starts with some reflections about the concept of myth. With the intention of creating a dialogue field between the mythic tales and the literary corpus matrix of this investigation, the second part of this chapter is dedicated to the images under the focus of the arquetipic psychology, from where it was extracted the concept of ¨imaginal¨ which points to the modus operandi of this essay. As the type of analysis suggested is inserted in the mythopoetic area, the second chapter approximates the two modern texts to the mythic tales of Psyque and Persephone. Both feminine characters go down into the underworld kingdom, where they achieve an inner growth, similar to the psyquic process experienced by the main characters of the two dramas chosen in this investigation. This chapter, approaches the dramatic genre and the dramatic works of Nelson Rodrigues and García Lorca, authors of the two dramas studied in this thesis. The third chapter develops a comparison exercise between Dorotéia and La casa de Bernarda Alba: firstly the concept of feminine and family are studied as arquetipic issues; secondly the home, religion and sexuality are studied as surrounding issues; and finally, there is an approximation of the stories of Dorotéia and Psyque and La casa de Bernarda Alba and Persephone. The last chapter is composed by two sections: one talks about the feelings of inferiority and the other about the ¨souled¨ images –means used to access the psyquic reality of the characters. According to the importance give to the images in this work, there have been selected some fotographs from the plays on stage of Dorotéia and La casa de Bernarda Alba, related to the issues treated in the last two chapters of the thesis, the mentioned images are attached to the end of this work.
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Plunkett, Tara Emma. "Self and desire : surrealism in the images and texts of Federico García Lorca, Rafael Alberti, Remedios Varo and Leonora Carrington." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602786.
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This study examines images and texts by Federico Garcia Lorca, Rafael Alberti, Remedios Varo and Leonora Carrington, which demonstrate an attempt at self-fashioning or selfdefinition, within a Surrealist aesthetic. Given Andre Breton's belief that through his desire for woman he could tap into his creative subconscious, this discussion asks to what extent the artists' endeavours were tempered or mediated by desire. Via a close reading of images and texts created by a collection of artists and poets chosen for the synthesis of their artistic vision, this study aims to demonstrate how Surrealism lends itself to the articulation of complex identity questions. The inclusion of painters and poets, both male and female, allows for an interrogation of the implications of gender and genre in their work. The artworks studied demonstrate that, despite the slight difference in era between Lorca and Alberti, and Varo and Carrington, they all use the malleability of Surrealism, by means of imagery of metamorphosis, decomposition and obfuscation, in works which question subjectivity and articulate a search for the self. The artists' articulations of desire which range from Remedios Varo's subtle imagery of inhuman bodies intertwining to Rafael Alberti's violent images of mortification to repress forbidden impulses form an important part of their coming of age in a Surrealist aesthetic but do not, as Breton conceived of it, act as a medium to uncover a greater truth. This study will show that united in their marginal association to the Surrealist movement, Lorca, Alberti, Varo and Carrington, all created works which demonstrate a sense of tension between two opposing states, such as subject and object, male and female, and life
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Rosenberg, Anna. "As handsome as a Greek : the reception and creative appropriation of Federico García Lorca in Modern Greek poetry (1933-1986)." Thesis, King's College London (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.629432.
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This thesis examines the relationship between Federico Garda Lorca and Modern Greek poetry as witnessed during the period 1933 to 1986. Exploring Lorca's vast popularity in Greece and arguing for his Hellenization, it is divided into two parts relating to reception and creative appropriation respectively. The first part deals with three forms of reception: translations, criticism, and poetic tributes to Lorca. Translations of his work, with a particular focus on poetry, and critical attention Lorca the poet and person received, are discussed in view of the social, political, and ideological context of the period 1933-1986. Poetic tributes, mainly inspired by Lorca's death at the outbreak of the Spanish Civil War, are also examined as an integral part of his importation and accommodation in the Greek context. The second part of this thesis explores the ways four major Greek poets, Odysseus Ely tis, Nikos Gatsos, Yiannis Ritsos, and Nikos Engonopoulos creatively appropriated elements of Lorca's poetry in their own work. These poets sought to forge their national and literary identity through renegotiating their relationship with Greek tradition and contemporary artistic and ideological European movements, especially Surrealism. In Lorca, they found inspirational means of addressing these preoccupations. This thesis follows the uninterrupted trajectory of Lorca in Greece offering at the same time a new perspective on Modern Greek poetry. A diachronic examination of the interconnection between the various forms of response to Lorca demonstrates that the Spanish writer played a decisive role in the development of Modern Greek poetry.
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Le, Colleter Thomas. "« La matière ensorcelée » : poétiques et représentations de la musique au XXe siècle (Federico García Lorca, Pierre Jean Jouve, Giorgio Caproni)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040175.
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La thèse ici présentée ambitionne d’étudier l’impact de l’imaginaire musical sur l’écriture de trois poètes majeurs du XXe siècle : Federico García Lorca (1898-1936), Pierre Jean Jouve (1887-1976) et Giorgio Caproni (1912-1990). Elle part d’un constat simple : ces trois poètes ont pour élément fédérateur non seulement une connaissance intime de la musique, mais, risquons le terme, une véritable obsession de celle-ci, qui prend bien souvent les aspects d’une fascination irrationnelle et enchanteresse face à ce que Jouve, dans une expression lourde de sens, appelle la « matière ensorcelée » – entendons par là le pouvoir désarmant du charme musical.Tous trois permettent ainsi l’élaboration, par la comparaison, d’une réflexion sur les positionnements esthétiques et idéologiques possibles de la poésie face à la musique en Europe, dans une période à la fois post-wagnérienne et post-mallarméenne. Ils sont l’occasion d’une méditation sur le rêve énoncé par Vladimir Jankélévitch dans Quelque part dans l’inachevé, appelant à « écrire non pas sur la musique, mais avec la musique », pour « demeurer complice de son mystère ».Pour répondre à ce questionnement, la thèse envisage d’abord la dimension identitaire de l’imprégnation musicale chez les auteurs, puis les modalités de son inscription dans leurs poétiques respectives, avant d’observer les évolutions à l’œuvre dans leur perception du référent musical au fil du temps. Ainsi sera mise en valeur la dimension imaginaire et fantasmatique de cet art qui n’aura cessé de les requérir leur vie durantThis thesis aims at studying the impact of musical imagination on the writing of three major poets of the XXth century : Federico García Lorca (1898-1936), Pierre Jean Jouve (1887-1976) and Giorgio Caproni (1912-1990). It starts from a simple observation : not only do these poets have an intimate knowledge of music, but, let us risk the term, a real obsession for it, that often verges on an irrational and enchanting fascination for what Jouve, in a thoughtful expression, calls “the bewitched matter” – ie the disarming power of the musical charm.All three of them thus enable the elaboration, through comparison, of a reflection on the esthetical and ideological positionings of poetry in front of music in Europe, in a time both post-wagnerian and post-mallarmean. They make possible a meditation on the dream once stated by Vladimir Jankélévitch in Somewhere in the unfinished, calling for “writing not on music, but with music”, to “remain accomplice of its mystery”.To answer this questioning, the thesis first tackles the search for identity enabled by the authors’ musical impregnation; it then explores the way music comes within the scope of their respective poetics; it finally observes the evolutions in their perception of the musical referent as time goes by. Thus will be underlined the imaginary and fantastical dimension of this art which kept calling for them all their lives
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Kramer, Max. "The poetry of inversion : Queer metaphor in Arthur Rimbaud, Stefan George, and Federico Garcia Lorca." Paris 4, 2008. http://www.theses.fr/2008PA040103.
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Vives, A. "Entre el yo enajenado y la sangre desmitificada : narcisismo, genio y violencia en la obra de Salvador Dalí Federico García Lorca." Thesis, University of Aberdeen, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590996.
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This thesis explores the representation of narcissism, genius and violence in the poetic and narrative works of Salvador Dalí and Federico García Lorca. It draws on historicising and psychoanalytic theoretical frameworks. The variety of the topics leads to a heterogeneous yet interdependent academic discourse, and questions ideas and concepts that have normally been taken for granted when studying these works. In particular, this thesis focuses on poetic pieces that have been practically neglected by the critics, and it also offers a new reading of a number of poems from Poeta en Nueva York by Lorca. Generally, it tackles the complexity of the identity, the creativity processes and the aggression in modern times, as well as their aesthetic influence on both artists’ work. This study proves that an original approach is still possible when referring to Dalí and Lorca.
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Miner, Lauren. "The “Man Walks Outside Time Now”: Verbal Representations of Photographic Images in the Poems of Larry Levis." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/402.
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The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”
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Montin, Sandrine. "« Rentrer dans le monde » : parcours d’une inquiétude chez les poètes Guillaume Apollinaire, Blaise Cendrars, T.S. Eliot, Federico García Lorca et Hart Crane." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040207.
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Les poètes du début du vingtième siècle sont inquiets : hésitant entre idéalisme et matérialisme, liberté et déterminisme, création et évolution, ils errent dans une « zone » idéologique. Dans les premiers textes de Guillaume Apollinaire (1880-1918), Blaise Cendrars (1887-1961), T.S. Eliot (1888-1965), Federico García Lorca (1898-1936) et Hart Crane (1899-1932), le désarroi est permanent. Il s’incarne sous différentes formes, du dédoublement de personnalité à l’extrême lassitude, tandis que l’ombre et un vent de fin du monde envahissent les poèmes. Les positions des poètes varient entre nihilisme, incertaines tentatives de syncrétisme et ironie mordante. Pourtant, passé leur première jeunesse, ils reconnaissent que leur inquiétude n’est pas une donnée personnelle mais un fait d’époque, peut-être même le fait essentiel, sur le plan de la pensée, de l’époque dite moderne : c’est « l’âge de la comparaison », selon les mots de Nietzsche. Ils renoncent alors à exprimer la singularité d’une vision individuelle, originale, voire bizarre, pour « rentrer dans le monde ». Rompant nettement avec les objectifs littéraires du symbolisme, ils entendent désormais devenir « la conscience de l’époque », exposer les idéologies incompatibles qui s’y côtoient, faire l’inventaire de ses contrastes. Dans le premier tiers du vingtième siècle, l’inquiétude idéologique est le mobile qui engage les poètes à redéfinir leur fonction dans la cité et l’un des grands moteurs de l’innovation esthétique : cubisme, simultanéisme, dialogisme et lyrisme épique. C’est ce parcours dont nous espérons dégager la cohérence et les principales étapesAt the beginning of the XXth century poets were unsettled : hesitating between idealism and materialism, freedom and determinism, creation and evolution, they wandered in an ideological « waste land ». In the early works of Guillaume Apollinaire (1880-1918), Blaise Cendrars (1887-1961), T.S. Eliot (1888-1965), Federico García Lorca (1898-1936) and Hart Crane (1899-1932), distress assumed different forms: from split personality to extreme weariness. The poets’ positions bounced between nihilism, half-hearted attempts at syncretism and bitter irony. As they matured, they recognized however that their restlessness was not a personal matter but a product of the times, perhaps even the main feature, on the level of thought, of the so-called modern times : “the age of comparison”, in Nietzsche’s words. They then renounced to express the singularity of an individual, original, even bizarre vision, and chose to “go back to the world”. Breaking with the literary goals of symbolism, they aimed at becoming the “conscience of the times”, at exposing their conflicting ideologies, and at listing their contrasts. In the first third of the twentieth century, this ideological restlessness pushed poets to redefine their role in the city. It was one of the most powerful forces behind aesthetic innovation: cubism, simultaneism, dialogism and epic lyricism. In this study, we will examine the coherence and main stages of this process
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Hobbs, Mary Etta. "An Investigation of the Traditional Cante Jondo as the Inspiration for the Song Cycle Five Poems of Garcia Lorca by Elisenda Fabregas." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4512/.
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The traditional cante jondo is a song unique to Andalusia as it developed from the "mosaic" of cultures that have inhabited its borders, including Arabs, Jews and Gypsies. The genre expresses the history of the region, reveals the typography of the landscape and cries the tears of its people. "Deep song," the translation for cante jondo, is the forerunner of the flamenco, but it is a communication of a dark soul rather than an exuberant entertainment. The original folk idiom is a medium less concerned with beauty than the cathartic release of pain of every day life. It expresses the soul of Andalusia. This study explores the history and the poetic and musical forms Andalusian cante jondo as the inspiration for the poetry of Federico Garcia Lorca set by Elisenda Fabregas in the song cycle, Five Poems of Garcia Lorca (1992). Lorca felt the validity of "deep song" and he was disturbed that it was being corrupted by commercialism and was afraid it would be lost to posterity. His goal was to preserve the essence of the song and lift it to an artistic plain. He saw folk music as the core of the national musical and literary identity in Germany, France and Russia and worked to establish Spain as an artistic equal. Lorca's writings were not imitations of the traditional cante jondo. They echoed the history, the landscape and the tears, but they did so through symbolism and vivid imagery. The poet communicated on several levels, one as a voice of Andalusia, Spain and ultimately mankind and another with his own private message. His life was short, but his legacy is long. Fabregas, like Lorca, has taken a folk medium and expanded it beyond its original boundaries. Being of Spanish heritage, but not Andalusian, she is less committed to the local musical constraints. She felt the humanity in Lorca's poetic cries and expressed them through her own language. As a result her songs are intensely dramatic and are exciting pieces to perform.
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Garnero, Sandra. "Le discours didascalique et ses enjeux dans le théâtre de F. G. Lorca." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30027/document.
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L’objet de notre étude est l’analyse du discours didascalique du poète et dramaturge espagnol, Federico García Lorca. Trois pièces constituent notre champ d’investigation : Bodas de sangre, Yerma et La casa de Bernarda Alba. Les didascalies, en tant que discours émanant de la voix auctoriale, ont fait l’objet de nombreuses recherches et publications depuis l’essor de la linguistique de l’énonciation et de l’analyse du discours dramatique. Ce travail propose une poétique singulière des didascalies et démontre qu’elles forment un code sémiotique particulier, stratégique et poétique au sein du discours théâtral lorquien : loin de ne constituer qu’un péritexte fonctionnel qui se limite à accompagner et à préciser les conditions de mise en scène du discours entre personnages, elles représentent le véritable centre névralgique du théâtre poétique de Lorca. Elles participent pleinement de la construction du sens profond de l’œuvre et livrent des clés interprétatives essentielles fonctionnant à différents niveaux de lecture et de réception théâtrale. La lecture de certaines didascalies représente un véritable plaisir pour le spectalecteur. Elles peuvent être considérées dans une perspective poétique et interprétées dans la matérialité même de leur signe linguistique comme des supports textuels et phoniques. Elles demeurent dans la plupart des cas l’apanage du lecteur car, renversement paradoxal, le metteur en scène est souvent dans l’impossibilité de les représenter totalement sur scène. Ces didascalies correspondent à la première phase de ce travail et sont nommées didascalire. D’autres didascalies concernent d’une façon plus concrète et pratique les détails de la future mise en scène et possèdent une fonction performative et conative. Elles ne sont plus textuelles : le message originel se transforme en d’autres systèmes de signes. Elles font l’objet de la seconde phase de cette étude et sont appelées didascascène. Les parties liminaires (titres – sous-titres et dramatis personae par exemples), les nuances chromatiques et les indications spatio-temporelles, sont revêtues d’une valeur prophétique et d’une portée métathéâtrale : elles portent en germe tous les éléments de l’œuvre et élaborent une réflexion sur le théâtre lui-même. Lorca, dans cette partition didascalique compose une poétique du silence révélant les sentiments profonds des différents personnages de la trilogie. Les didascalies sont le souffle et la respiration du texte qui prend corps et vie devant nos yeux : leur déchiffrement permet d’accéder aux arcanes de l’œuvreThe aim of this study is to analyse Garcia Lorca's poetic and dramatic use of stage directions with special reference to three plays : Bodas de Sangre , Yerma and La casa de Bernada Alba .There is no denying that since the birth of enunciative linguistics and drama speech analysis, a lot of in-depth research publications have been devoted to stage directions as reverberations of the author's voice . This study will offer a poetic reading of Lorca's stage directions and aim at demonstrating that the latter contribute to creating a specific semiotic code with both a strategic and poetic intent within Lorca's dramatic speech. Far from being a mere functional peritext only meant to organise and set up the staging of discourse between the characters, Lorca's stage directions embody the nerve centre of his poetic drama. They play an active part in building up the innermost meaning of his works, and offer essential keys for interpretation at various levels of reading and theatrical reception. Reading some of these stage directions is a source of enjoyment for the viewer-reader . If we consider them as mere linguistic signs, they can indeed be interpreted in a poetical perspective as text aids through their sound effects when spoken aloud. Yet ,they are restricted to the reader's exclusive benefit as , paradoxically enough, the stage director is very often unable to stage them in their entirety , even by summoning all the senses . These stage directions, analysed in the first phase of this study, can be labelled as 'reading directions '. The other kind of stage directions consists of the more concrete and physical details that can help organise the futur staging of the play. They have an action-inducing and conative function and , as such, are not textual - the author's original message being coded into another system of signs - These 'staging directions' are the focus of the second part of this study. The preliminary parts ( titles, subtitles and dramatis personae for instance), the varied hues, space and time indications are endowed with a metadrama and prophetical value. Indeed, they carry the seeds of all the main characteristics of Lorca's works and weave thoughts about the very essence of drama. By turning his stage directions into a real musical score, Lorca composes a poetry of silence revealing the innermost feelings of the various characters present in the trilogy. The stage directions breathe life into the text , which takes on flesh and blood under our eyes. Deciphering them enables the reader to lift the veil on the mysteries of Lorca's works
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Marie, Arnaud. "Théâtre de Federico Garcia Lorca, Jean Genet, Pier Paolo Pasolini : la cérémonie impossible : marges et frontières de la représentation." Paris 10, 2008. http://www.theses.fr/2008PA100124.
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Dans ce travail nous lisons les œuvres théâtrales de Jean Genet, Pier Paolo Pasolini et Federico Garcia Lorca comme des cérémonies sacrificielles qui exposent la représentation mimétique aux brûlures du désir et de l’Histoire. L’étude de l’espace et du temps, des personnages et du langage dramatique montre d’abord comment la représentation est pervertie, soumise à un vertige néobaroque. La cérémonie sacrificielle dont nous observons ensuite les formes et modalités d’exécution apparaît elle aussi prise dans ce vertige. Détournée de son scénario convenu, minée par la dérision, elle fait place à une autre cérémonie qui s’installe dans ses marges et aux frontières de la représentation. Nous l’appelons cérémonie impossible car elle se mesure à l’invisible et s’attache à donner corps à la réalité mouvante du désir à ses métamorphoses incessantes. C’est en ce point que le théâtre doit s’agencer avec la poésie, la danse, le cinéma. Nous montrons enfin que cette cérémonie laisse le théâtre en proie à des visions infernales, inspirées par les cataclysmes de l’histoire du vingtième siècle, mais qu’elle dessine aussi un espace utopique, un espace de rencontre amoureuse avec l’autre, où Genet, Pasolini et Lorca inventent et fabulent une communauté soustraite à l’emprise du PouvoirIn this study, plays by Jean Genet, Pier Paolo Pasolini and Federico Garcia Lorca are read as being sacrificial ceremonies exposing a mimetic representation to the burning of desire and history. The study of time and space, of the characters and the dramatic language shows at first how the representation can be perverted and subjected to a neobaroque vertigo. The sacrificial ceremony itself with its forms and mode of implementation seems to be part of this vertigo as well. As it is diverted from its conventional scenario, undermined by ridicule, it gives way to another ceremony that appears on the fringe and on the borders of representation. We’ll call it impossible ceremony because it tackles the invisible and endeavours to give substance to the changing reality of desire, to its constant metamorphosis. In this respect theatre must accommodate poetry, dancing and the cinema. Last of all we show that this ceremony lets theatre be in the grip of diabolical visions, inspired by the cataclysms of twentieth century history while it defines a utopian gap, a gap for romantic encounters where Genet, Pasolini and Lorca invent and make up a community shielded from the hold of power
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Wickberg, Månsson Adam. "”¡Ay, de la que tiene los pechos de arena!” : En studie av metaforiken i Federico Garcia Lorcas Yerma." Thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7446.
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Föreliggande uppsats syftar till att undersöka metaforiken i Federico Garcia Lorcas drama Yerma. Undersökningen tar sin utgångspunkt i föreställningen att metaforiken är betydelsebärande för dramat. Metaforiken fokuseras genom en analys som syftar till att blottlägga struktur hos metaforerna. Denna analys fungerar som övergång till en tolkning med hermeneutisk prägel. I strukturanalysen tillämpas Max Blacks interaktionsteori och tolkningen utgår framförallt från Paul Ricoeurs hermeneutiska fenomenologi, vilken även ligger till grund för kombinationen av strukturanalys och hermeneutisk tolkning. Uppsatsen undersöker på detta vis metaforikens speciella karaktär i dramat och dess referens till verkets värld. Metaforerna ses som ingående i ett större nätverk i dramat och gemensamma mönster för uppbyggnad och uttryck urskiljs. Nyckelord: Metafor, Metaforik, Federico Garcia Lorca, Yerma, Paul Ricoeur, dramatik, spansk litteratur.
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Carandell, Zoraida. "Le sujet poétique (1927-1930). "Sobre los ángeles" et "Sermones y moradas" de Rafael Alberti et "Poeta en Nueva York" de Federico García Lorca." Paris 3, 2000. http://www.theses.fr/2000PA030008.
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Le sujet poetique chez lorca et alberti s'inscrit dans l'heritage du symbolisme. La premiere partie etudie le modele orphique du sujet, et ses rapports avec la poesie cubiste. Le questionnement sur l'identite du "yo", a la fois heritier du sujet moderniste et symbole du poete, conduit a une crise du sujet, a la reintroduction du biographique, et a un decalage entre le sujet de l'enonce et le sujet de renonciation. La deuxieme partie est une analyse de renonciation, qui qui fonde selon k. Hamburger le sujet poetique. L'etude des marques de premiere personne, des deictiques, des temps verbaux et des modalites de la phrase montre la cadence rythmique qu'introduit l'inscription du sujet dans le langage poetique. La refondation du rythme par la syntaxe est a l'origine d'une transgression de renonciation. La polyphonie enonciative des oeuvres pose le probleme de la linearite du sujet poetique. La distinction entre discours cite et discours citant aboutit a l'analyse de l'interlocution : "iglesia abandonada" montre la complementarite de l'heterologie et de l'homophonie a travers un sujet poetique a l'identite complexe. La troisieme partie etudie les rapports d'intertextualite entre sujetet objet. L'orientation vers un "tu" fait du discours poetique un dialogue du sujet avec lui-meme et une introspection de l'autre. Le langage evocatoire et l'esthetique du fragmentaire dans sobre los angeles et sermones y moradas: le langage evocatoire questionnent l'heritage romantique. La deconstruction de l'univers symbolique de sa et la figure de l'homme inhabite correspondent a une critique de la societe, plus violente dans sm, marque par l'influence surrealiste. Dans poeta en nueva york, le point de vue, la multiplanearite du texte et les codes poetique, cinematographique et pictural ne remettent pas en question l'objet, dont l'influence de mire souligne le caractere metaphysique. Des concordances lexicales comparees des trois ~uvres figurent dans le deuxieme volume.
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Saint-Martin, Vanessa. "L'implicite dans le théâtre espagnol d'avant-garde : analyse de « Luces de bohemia » et de « Yerma »." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30029.
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Cette thèse analyse les modalités et les enjeux du langage implicite au sein de deux pièces du théâtre espagnol d’avant-garde. À travers l’étude approfondie de Luces de bohemia et Yerma, écrites respectivement par Ramón del Valle-Inclán et Federico García Lorca, ce travail de recherche met en exergue l’importance d’une communication oblique dans le projet de renouveau de ces deux dramaturges emblématiques du premier tiers du XXe siècle. Il s’attache d’une part à présenter les différentes composantes du répertoire implicite présentes dans la matrice textuelle de chacune des deux pièces, à examiner leur fonctionnement dans les échanges entre les personnages ainsi qu’avec le public et à déterminer leur place dans l’esthétique grotesque de l’esperpento et dans la réflexion sur le clivage du sujet au sein du poème tragique. L’exploration de l’implicite en interaction implique en outre une prise en compte du contexte et de la multiplicité de signes qui échappent au domaine strictement verbal, mais qui participent pleinement à l’actualisation de ces contenus latents. C’est pourquoi cette étude inclut également un corpus de mises en scène et d’adaptations cinématographiques. D’autre part, il s’agit de démontrer que la prolifération des sous-entendus, de l’ironie, des actes illocutoires indirects, des métaphores, ou encore des points de suspension n’obéit pas uniquement à une finalité cosmétique. N’ayant de cesse de questionner la théâtralité — la stratification du dispositif énonciatif, la tension entre le texte et la représentation, la densité des signes —, ces informations livrées en marge de ce qui est expressément dit instaurent une véritable poétique de l’ambiguïté qui ébranle les fondements de la dramaturgie conventionnelle. La concentration de ces procédés trouble en effet le bon fonctionnement du dialogue entre les personnages, entraînant également une rupture dans le rapport avec les lecteurs/spectateurs. En définitive, cette argumentation propose de mettre en regard les formes lacunaires avec la volonté de mettre fin à l’endormissement du public, appelé à endosser un rôle décisif dans le déchiffrement des implicites intégrés à un théâtre totalThis thesis analyses the modalities and challenges of implicit language in two plays of avant-garde Spanish theatre. Through the study of Luces de bohemia and Yerma, written respectively by Ramón del Valle-Inclán and Federico García Lorca, this research highlights the importance of oblique communication in the renewal project of these two emblematic playwrights of the first third of the 20th century. On the one hand, it sets out to present the different components of an implicit repertoire in the textual matrix of these two plays, to examine how these components operate in exchanges between the characters and with the audience and to determine the part they play in the grotesque aesthetic of Esperpento and in a reflection on the subject division within the tragic poem. Exploring the implicit in interaction also implies taking into account the context and the multiplicity of signs which extend far beyond the verbal domain and fully contribute to updating these contents. This is why this study also includes a corpus of stagings and film adaptations. On the other hand, this research demonstrates that the proliferation of undertones, irony, indirect illocutionary acts, metaphors, or even ellipsis does not only serve a cosmetic purpose. Constantly questioning the theatrics - the stratification of the enunciative device, the tension between text and representation, the density of the signs -, these elements of information, delivered on the margin of what is expressly said, create a true poetics of ambiguity which shakes the foundations of conventional dramaturgy. The concentration of these processes indeed disturbs the proper functioning of the dialogue between the characters, also causing a break in the relationship with the readers / spectators. Ultimately, this argument proposes to compare incomplete forms with the desire to put an end to the falling asleep of the audience, called to take on a decisive role in deciphering the implicit integrated into a total theatre
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Bernal, Miranda Monserrat. "El maleficio de la mariposa: estudio semántico y semiótico del contexto de Federico García Lorca y Análisis de la puesta en escena de José Cotero." Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2019. http://hdl.handle.net/20.500.11799/110371.
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Federico García Lorca (1898- 1936) es considerado uno de los mayores exponentes de la poesía española del siglo XX, fue parte de la tan aclamada generación del 27, así mismo es un pilar importante en el teatro vanguardista de principios de 1900, tanto para su lengua madre (el español) como para el ámbito internacional.
Su obra primogénita El maleficio de la mariposa estrenada en 1920 es la única obra de teatro escrita en su totalidad en verso, una obra simbólica relatada por insectos que cuenta las vicisitudes en las que se ven unas curianas (cucarachas) cuando cae del cielo una mariposa, un ser que jamás habían visto y que llega a cambiar su cotidianidad para siempre.
Este trabajo, “El maleficio de la mariposa: estudio semántico y semiótico del texto de Federico Garcia Lorca y análisis de la puesta en escena de José Cotero” comienza con un análisis de la vida y obra del autor español, su manera de hacer teatro y el duende catalizador del cual deben estar impregnados todos los elementos que componen su universo. Posteriormente se analizan diversos aspectos de la obra El maleficio de la mariposa, como el argumento, los personajes, la estructura, temporalidad y caracteres. También se propone un análisis semántico, métrico y semiótico de dicha obra con el fin de entender todos los elementos de la misma y por qué fue importante su representación ante un público del siglo XXI durante la temporada de 50 funciones que se desarrolló en el Foro Experimental “Raúl Zermeño Saucedo” de la Facultad de Humanidades de mayo a julio de 2015.
Se hace un estudio del montaje de José Cotero –docente de la Licenciatura en Artes Teatrales de la UAEMéx– y cómo la dramaturgia del director contextualiza el texto dramático y lo convierte en elemento vivo. Pretendo demostrar y confirmar que hubo una coherencia entre el texto dramático y la teatralidad que tomó lugar en el escenario. Por último se demuestra la importancia de la investigación y el trabajo de mesa que debe hacer el director con los actores y su equipo de trabajo para que las palabras del dramaturgo tomen un sentido interpretativo y esto a su vez se convierta en emociones y sensaciones para con el público.
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Tourrel, Marie-France. "Présence de Lorca dans la poésie occitane du début du XXème siècle : échos et convergences." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30015/document.
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Quel impact a eu la poésie de Federico García Lorca, poéte né à Grenade en 1898 et mort assassiné en août 1936, un mois après le déclenchement de la Guerre civile espagnole (1936-1936) sur certains poètes occitans du début du XXème siècle? Une présentation de l'auteur modèle et des auteurs qu'il a inspirés ainsi que des contextes historiques, précède une étude des œuvres de traductions par Max Rouquette, Robert Allan des compositions majeures de Lorca: "Romancero Gitano", "Diván del Tamarit", "Llanto por Ignacio Sánchez Mejías" et "Poema del Cante jondo".Un examen des créations personnelles permet ensuite de rencontrer des ressemblances et un écho, à la fois, lexical et conceptuel de Lorca dans des domaines aussi variés que les sources d'inspiration des auteurs, la nature avec ses couleurs, la végétation et les animaux qui la composent sans oublier les éléments comme le vent, l'eau ou le feu pour en finir avec les êtres humains et les sentiments qui les animent face à la vie, à la mort, à la société et à la religion. Cette étude permet une approche du rôle et de l'importance de la langue d'oc dans la littératureQuel a été l'impact de la poésie de Federico García Lorca, poéte né à Grenade en 1898 et mort assassiné en août 1936, sur certains poètes occitans du début du XXème siècle? Une biobibliographie de l'auteur modèle et des auteurs qu'il a inspirés ainsi que des contextes historiques, précède une étude des œuvres de traductions par Max Rouquette, Robert Allan des compositions majeures de Lorca: "Romancero Gitano", "Diván del Tamarit", "Llanto por Ignacio Sánchez Mejías" et "Poema del Cante jondo". Un examen des créations personnelles permet ensuite de rencontrer des ressemblances et un écho, à la fois, lexical et conceptuel de Lorca dans des domaines aussi variés que les sources d'inspiration des auteurs, la nature (végétation et animaux qui la composent) sans oublier les éléments pour terminer par les êtres humains et les sentiments qui les animent face à la vie, à la mort, à la société et à la religion. Cette étude permet une approche du rôle et de l'importance de la langue d'oc dans la littérature
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Leon, Vegas Carolina. "Ausencia, prohibición y carencia : Estudio de los personajes y el deseo frustrado en tres obras de García Lorca." Doctoral thesis, Högskolan Dalarna, Spanska, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:du-6466.
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In this thesis, the main male characters in three of the plays written by Federico García Lorca are analysed with the aim of seeingthe role they play in the frustration of desire. After two chapters dedicated to a review of published critical studies on Lorca and tocertain theoretical considerations, Chapter Three examines desire drawing on Ubersfeld's actancial model and observes that thesemale characters can be divided into two groups: those who are desired and those who are undesired.In Chapter Four this classification is linked to an analysis of absence, prohibition and lack. Absence is here defined not asrelated to their non-appearance on stage but rather to their non-presence in the lives of the desiring female protagonists. It isobserved that a number of male characters are absent in the plays mainly due to death or a journey. As far as prohibition isconcerned, in two of the works, there is a moral code associated with concepts such as "honour" and "decency", which blocks thefemale characters' access to the males they desire. Chapter Four also shows how several characters can be considered as lacking inthe sense that they do not possess the ideal male qualities contained in the plays. This chapter reaches the conclusion that desiredmale characters are either absent or forbidden in the world of the desiring female, whereas undesired male characters are lacking inthe sense that they fail to live up to the ideal highlighted in the plays.Chapter Five analyses the female characters' perception of the male figures, making use of René Girard's notion of"transfiguration", which alludes to a process of idealisation of the object of desire. Our analysis reveals a connection betweendesire, denied access to the object of desire and transfiguration in the main subjects of desire. The phenomenon of "transfiguration"has several functions in the play: firstly, the creation of hyperbolical male characters; secondly, that of transmitting the intensity ofthe desire experienced and, finally, the highlighting of the lack of certain qualities in several male characters.We thus observe that, in these three plays written by García Lorca, Girard's pessimistic view of desire is confirmed, since desireneeds a series of obstacles, such as absence or prohibition, to survive. However, this is not the only explanation for the frustrationof desire: other factors, like the actions of certain male characters or destiny, also play a decisive role.
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Lindgren, Lovisa. ""Porque quiero casarme con un varón hermoso de la orilla del mar" Un análisis de lo grotesco femenino de María Josefa en La casa de Bernarda Alba." Thesis, Högskolan Dalarna, Spanska, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-13621.
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This essay is an analysis of the character María Josefa in the play 'The House of Bernarda Alba' (1936) by Federico García Lorca. It is hypothesized that the character of María Josefa can be considered a distorting mirror of the femininity presented in the play, and that through María Josefa this femininity is both revealed and problematized. The analysis adopts theories from the field of the (female) grotesque, using terminology both from Mikhail Bakhtin and Mary Russo. Throughout the analysis it is demonstrated how the character of María Josefa challenges the boundaries and norms which are dictated by Bernarda to control the women of the house. These conventions are challenged by María Josefa with the use of her loud speech, her dressed up appearance, and in her physical resistance. In this manner María Josefa is creating and embodying an alternate feminine view that is uncovered through her consistent provocation and by making herself into "a spectacle", a transboundary behaviour that is well interpreted within the theories of carnival, the grotesque body, and the spectacle of the female grotesque.
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Sayols, Lara Jesús. "Translating as transculturating: a study of Dai Wangshu's translation of Lorca's poetry from an integrated sociological-cultural perspective." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/281.
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Dai Wangshu 戴望舒 (1905-1950) was a prolific translator, working on both French and Hispanic literature. However, his translation work has often been considered relevant only to the extent that it helped him to develop a self-fashioned modernist style in his own poetic writing. Moreover, no systematic study has been conducted on his interest in Hispanic literature, particularly on his translation of Federico García Lorca’s poetry, a project to which he dedicated over half of his professional career but left unfinished. In addition, investigations on Dai have been generally approached from a narrow theoretical perspective that has risked overlooking the social factors that affected his literary activities. This thesis, therefore, aims to reveal the extent and the way in which translating Lorca into Chinese contributed to the establishment and consolidation of Dai’s position as a social agent in the field of literary production in China. The methodology is constructed in an attempt to reconcile a sociological perspective on translation drawing on Pierre Bourdieu’s theory with a more interpretive understanding of literary writing based on the notion of transculturation inherited from Latin American cultural studies. Examining Dai’s translation of Lorca’s poetry from this integrated perspective allows foregrounding the heterogeneity and multiplicity of Dai’s literary dispositions, at both a macroscopic and a microscopic level, without ignoring the social factors involved in his translation practice. By embedding Lorca’s poetry in the field of literary production in China, Dai privileged a particular set of possibilities over the others, both literary and ideological at the same time. This kind of behaviour in Dai can be interpreted in terms of transculturation and observed in various textual domains, involving formal literary elements, discourses and worldviews. Furthermore, Dai’s project of translating Lorca’s poetry, which expanded over a three-decade period, allows establishing striking connections among literary journals and groups at various temporal and spatial locations, each of them associated with different and often competing views on translation, literature and politics. In sum, Dai’s translation project of Lorca played a pivotal role in establishing and consolidating Dai’s position in the literary scene to the extent that his status as a literary figure was more determined by his translation work than by his own poetic writing. Dai’s translation of Lorca involved not only transculturating a specific text-type, the romance, but also a particular view on the role of literature in society that, unexpectedly, positioned him as an author opportunistically committed to the Communist cause. This investigation contributes new evidence that helps to question some long-standing assumptions both in studies on Dai and in reflections on the role of translation in Chinese literature. In addition, it allows arguing for a study of such a role at large without the need to subsume translation to any other sort of practice.
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Carbone, Rafael. "Frustración lorquiana : Metáforas y símbolos en La Casa de Bernarda Alba." Thesis, Högskolan Dalarna, Spanska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-18375.
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El presente trabajo está orientado a detectar los símbolos y metáforas ambivalentes en la obraLa Casa de Bernarda Alba de Federico García Lorca. Debido a que hay pocos estudiosdedicados al simbolismo de la frustración, se ha concentrado en analizar dicha temática. Paraanalizar el concepto de frustración, primero ha sido necesario comprender cómo eraconcebida la moral de la época en que se inscribe la obra. En segundo lugar, ha sidofundamental entender cómo surge la frustración en el ser humano. Atendiendo a estascuestiones se ha aplicado la teoría del formalismo iluminista y una visión freudiana sobre lasteorías del psiquismo. En base a estas nociones se detectaron cuatro símbolos ambivalentesque connotan sentimientos de frustración: el blanco, el olivo, la maroma y el mar. Estossímbolos antitéticos contienen una fuerza negativa que se impone a la fuerza positiva, lo cualtiene como resultado la frustración. Las fuerzas contradictorias están presentes durante laobra entera. Esta característica no solo se manifiesta a través de los tropos estudiados, sinoque también se detectó que a menudo las fuerzas antitéticas se hacen presentes enprotagonistas que forman grupos ambivalentes, donde cada personaje actúa como una fuerzaopuesta, lo cual lleva hacia una tensión permanente entre una persona positiva y otranegativa.
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Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.
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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
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Athanasopoulou, Dimitra. "Théâtre et psychanalyse : la femme sous le regard "masculin" de la dramaturgie." Paris 7, 2013. http://www.theses.fr/2013PA070095.
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Le rapport entre la psychanalyse et le théâtre date d' Oedipe ou bien depuis la tragédie grecque. Le mythe freudien qui a nourri la théorie psychanalytique au niveau universel est alors un « scénario grec ». Si nous considérons respectivement le théâtre comme la forme littéraire qui parle le plus de la psychanalyse et la psychanalyse comme la théorie de la dramaturgie, nous pouvons également considérer que Strindberg, Ibsen et Lorca ont créé des figures théâtrales dont le décodage revient à dire quelque chose de l'expérience de l'inconscient. Nous souhaitons ouvrir un dialogue avec ces auteurs. La trilogie Strindberg, Ibsen, Lorca vise à montrer l'image de la femme « transformée ou non transformée » par la structure psychique de l'homme dramaturge. La trilogie théâtrale rencontre alors la trilogie freudienne (névrose, psychose et perversion). Strindberg, Ibsen, Lorca mettent en scène la question féminine. Nous nous attacherons à montrer comment se construit chez eux la figure de la femme. L'homme voit la femme par le prisme de castration. Nous souhaitons montrer la falsification de la femme par castration ou délire, autrement dit la vérité de la femme du côté de l'homme. La femme a été toujours regardée au travers du fantasme, jamais abordée dans la réalité. Quel est alors le rapport de Strindberg, d'Ibsen, de Lorca à l'Autre sexe ? Comment traitent-ils la question du non rapport sexuel ? Chacun à sa manière, selon symptôme, sa structureNous constatons que Strindberg fait oeuvre jusqu'à la folie. . Nous souhaitons mettre l'accent sur la portée pour la psychanalyse d'un dramaturge considéré comme misogyne, sur ce qu'il nous apprend sur le rapport à la femme et plus précisément sur le rapport à l'étranger féminin. Nous entamerons un questionnement analogue avec Henrik Ibsen et Federico Garcia Lorca. La femme est un moyen de revisiter l'oeuvre des hommes dramaturges. Mais en retour les oeuvres deviennent un moyen de revisiter la question du fémininThe connection between psychoanalysis and theater dates from Oedipus or, rather, from the Greek tragedy. Therefore, the Freudian myth that has nourished the psychoanalytic theory in a universal level is a "Greek scenario. If we see theater as the literary form that talks about psychoanalysis more than all the other literary forms, and respectively psychoanalysis as the theory of dramatic art, we might as well consider that the greatest European dramatists of the 20th century -Strindberg, Ibsen and Lorca- have created theater characters whose decoding has something to say about the experience of the unconscious. Therefore we are wondering whether psychoanalysis would be possible without theater, without the knowledge that theater has transmitted us on the subject and its passions, if we could think about Freud without thinking about the great dramatists. So how are we going to apply psychoanalysis in a theater play? What is the text's resistance to the analytical interpretation? Our goal is not only to question the literary creation in connection to the symptom, but to study as well the female characters in Ibsen, Strindberg, Lorca in order to support our hypothesis: The woman made hysterical and blamed by the male dramatist with no regard to her structure, her sexuality, her nationality. We wish to open a dialogue with the authors. The Strindberg, Ibsen, Lorca trilogy aims to show an image of the woman "transformed or not" by the psychical structure of the male dramatist. Therefore the theatrical trilogy meets the Freudian trilogy (neurosis — psychosis and perversion)
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Castay-Roubeau, Nathalie. "Bodas de Sangre, Carmen : de l'écrit à l'écran." Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30097.
Full textAbstract:
Cette thèse veut être une analyse du passage du texte à l’image de Bodas de sangre et Carmen. La première partie présente le contexte sociohistorique de Carlos Saura, et propose de parcourir son oeuvre en ciblant des éléments significatifs qui seront analysés lors de l’étude plus approfondie des films choisis. L’objet de la deuxième partie est l’analyse conjointe des textessources qui souligne plus qu’une homologie structurale, un rapport étroit entre les deux auteurs, les deux oeuvres et les deux héroïnes. Cette étude du texte révèle aussi la naissance du mythe à partir de Carmen. La troisième partie concerne le transfert iconique. Pour ce faire, l’étude de la temporalité apporte un éclairage supplémentaire sur le texte et l’image. Alors, la technique cinématographique maîtrisée prouve qu’elle peut être l’alliée de la littérature et de la danse. L’importance accordée à la photographie, au réalisme, au décor et à la bande sonore, donne à voir une nouvelle lecture des textes. Dans les deux cas, le spectateur assiste à la projection d’un film qui représente la répétition ou la création d’un ballet. La mise en abyme est donc un choix de création ; la superposition des récits oblige le spectateur à jongler de l’un à l’autre, dynamisant ainsi la lecture du filmThis thesis is a study of the passage from text to pictures in Bodas de sangre and Carmen. The first part is a presentation of the Carlos Saura sociohistorical context, followed by a survery of his work focusing on significative points which will be analysed in the deeper investigation of the chosen films. The second part aims at analysing the original texts, which highlights more than equivalent structures but also a close link between the two authors, the two novels and the two heroines. That study of the text also reveals the birth of the myth about Carmen. The third part deals with the transfer of the icon. To develop that point, the study of temporality brings the text and the picture under a different light. So, the controlled cinema technique proves that it can be on ally to literature and choregraphy. The importance given to photography, realism, scenery and sound track puts some new light on the text. In both cases, the member of the audience watches a film that represents the rehearsal on the creation of a ballet, the mise en abyme is, in fact, a choice of creation; the superposition of stories requires from the audience to juggle from one to the other, stimulating the playing of the film
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Byronová, Lucie. "Problematika lidské identity v tvorbě Federika Garcíi Lorky v kontextu krize evropského myšlení." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338214.
Full textAbstract:
The thesis focuses on two plays and one poetry collection by Federico García Lorca; El público, Así que pasen cinco an͂ os and Poeta en Nueva York, which together form the New York cycle and represent a new and unique phase in his compositions both from the point of view of content and form. The thesis concentrates on several distinctive motifs and themes related to the problem of human identity; ie the motifs and themes which discuss how to understand the individual or the human existence. This topic is reflected in the cultural context of Lorca's age, demonstrating that the atmosphere of the era corresponded with the author's personal perspective. The interpretation of human existence is strongly determined by the moment of death, therefore, the representation of death in the works and the related motifs are discussed in the thesis. At the same time, the similarity of Lorca's perspective with the philosophical ideas of the era is taken into consideration, with the emphasis on the philosophy of Martin Heidegger. In this context, we also focus on the author's relation to Christianity and the use of the Christian motifs in his plays and poems. In the following chapters, the motifs of mask and form are analysed. The thesis concentrates on the problem of the social mask, but also on the question of...