Bodas de sangre

Cátedra, 1985 - 167 páginas
1 Reseña
El tema de esta obra surgio a raiz de una noticia aparecida en prensa: dos amantes se fugan en la vispera de la boda de la mujer con otro hombre. Garia Lorca convierte la realidad en poesia. En su obra hay ansias de libertad, andalucismo, simbolismo y muerte, pero por encima de todo, poesia dramatica. Bodas de sangre es, pues, una obra teatral donde las desgarradas pasiones de sus protagonistas se desatan ante la atenta mirada de la luna, personificacion hermosa y terrible de la muerte.

Comentarios de usuarios - Escribir una reseña

Review: Bodas de sangre

Reseña de usuario  - Lindsay Wuchner - Goodreads

Another great play by Federico García Lorca. Now that I have read this play, Yerma, and La casa de Bernalda Alba, I understand a little more where he was coming from. Great read and didn't take that much time. Leer reseña completa

Otras ediciones - Ver todo

Referencias a este libro

Sobre el autor (1985)

Garcia Lorca is perhaps the best known of modern Spanish writers, partly because of his brutal execution outside Granada by Franco's army at the beginning of the civil war, but primarily because of his genius for poetry and drama. In 1928 Lorca published Gypsy Ballads, which won him immediate success and is considered one of the most important volumes of poetry of the century. Attracted to the gypsies for their exotic folklore, sexual vitality, and their status as a group on the fringe of Spanish society, Lorca enlarged the gypsy people and their traditions to mythical proportions. Nature takes on human form while reality acquires a dreamlike quality in this powerful transformation of the world into a myth. The verse is colorful, rhythmic, dramatic, symbolic, and suggestive. Lorca visited New York in 1929, experiencing a deep despair about a mechanical and dehumanized society; he saw in blacks the only hope for revitalization of that world. The volume Poet in New York (1929) shows the influence of Negro spirituals and the poets Walt Whitman and T. S. Eliot. Although Garcia Lorca was interested in drama throughout his life, he did not produce much of significance until the 1930s. Most important is his trilogy of Spanish rural life, Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936), all tragedies with women as protagonists. In each play, the fall of the heroine, and of those around her whom she pulls down, is caused by frustrations produced by society. Blood Wedding demonstrates the sterility of the traditional code of honor. Yerma reveals the emptiness of a traditional marriage in which the woman must bear her husband children to prove her fidelity, and The House of Bernarda Alba dramatizes the destructive nature of Bernarda's dictatorial rule over her house, a microcosm of Spain. The Butterfly's Evil Spell (1919) is Lorca's first play; The Shoemaker's Prodigious Wife (1931) and Don Perlimplin (1931) are farces; The Billy-Club Puppets (1931) is a puppet play.

Información bibliográfica