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Presencia de la danza en el teatro de Federico Garcia Lorca

Marquez Barragan, Miriam Yvonn
http://orcid.org/0000-0001-8357-3450
http://rave.ohiolink.edu/etdc/view?acc_num=ucin1560867293526761

Abstract Details

2019, PhD, University of Cincinnati, Arts and Sciences: Romance Languages and Literatures.
In this research, I analyze Federico Garcia Lorca’s plays and its link with dance, beginning with the observation of the historical context of Spain during the first decades of the 20th century. In this context, I observe the Andalusian poet’s friendship with people such as Gregorio and Maria Martinez-Sierra, Manuel de Falla, Antonia Merce La Argentina and Encarnacion Lopez Julvez La Argentinita, who connected new art expressions with popular Spanish traditions. That circumstance had a big influence in Garcia Lorca, who assimilated and stylized popular Andalusian culture in his poetry and in his theatre. The dramatist, who had a special sensibility and a deep knowledge of popular songs, dances and music of his native region, accomplished a special fusion between the literary and dancing aspects, connecting metaphoric, technical and rhythm aspects of the poetry language with the poetic and the interpretative aspects of the body. In his theatre it is possible to observe pantomimic, gesture, choreographic and dancing moments incorporated as scenic resources. However, the poet intuits that there are emotional elements that words cannot communicate but that can be interpreted and transmitted by the body, and that these messages in turn carry implicit socio-economic backgrounds, linked to sexuality and the expression or repression of the emotions. In this sense we can note that the Lorca’s theater is also made to be danced, hence its particular malleability to be adapted by the language of dance. An example of this is in the version of the ballet by Antonio Gades, based on Lorca’s Blood Wedding, filmed by Carlos Saura, which I analyze in this study as a paradigm of dance adaptation.
Andres Perez-Simon, Ph.D. (Committee Chair)
Maria Moreno, Ph.D. (Committee Member)
Armando Romero, Ph.D. (Committee Member)
287 p.
Literature
Federico Garcia Lorca; Dance; Theater; Avant garde; Cinema; Adaptation

Recommended Citations

Citations

  • Marquez Barragan, M. Y. (2019). Presencia de la danza en el teatro de Federico Garcia Lorca [Doctoral dissertation, University of Cincinnati]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1560867293526761

    APA Style (7th edition)

  • Marquez Barragan, Miriam Yvonn. Presencia de la danza en el teatro de Federico Garcia Lorca. 2019. University of Cincinnati, Doctoral dissertation. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=ucin1560867293526761.

    MLA Style (8th edition)

  • Marquez Barragan, Miriam Yvonn. "Presencia de la danza en el teatro de Federico Garcia Lorca." Doctoral dissertation, University of Cincinnati, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1560867293526761

    Chicago Manual of Style (17th edition)

ucin1560867293526761
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This open access ETD is published by University of Cincinnati and OhioLINK.