The Theatre of Garcia Lorca

The Theatre of Garcia Lorca

The Theatre of Garcia Lorca

The Theatre of Garcia Lorca

Excerpt

Although the poet may be thought of as literature's ostrich because of his primary concern with subjective writing, as opposed to the objective brand, he, so it usually occurs, has chosen to keep his head in the ground of subjectivism to preserve unimpaired his vision--to him far greater and more worthwhile than the apparent loveliness of that which surrounds his world. He has, nonetheless, often tried to present himself to the world in other guises; the most sought after "other life" has been that of the dramatist. The list of such transference is extensive, including the names of many outstanding poets: Eliot, Yeats, Hoffsmanthal, Browning, Claudel, McLeish, Fry, Auden, Cummings, Apollinaire, Gil Vicente, William Carlos Williams, Pound and many others.

Generally, the poet has approached the theatre as a poet and not as a dramatist. He has seldom realized the intricacies that characterize good drama, and therefore has undertaken to invent a drama by placing poetic dialogue within a framework of action. The results have been, for the most part, unsatisfactory as drama though their value as dramatic poetry can seldom be questioned. In seeking to approach the theatre, the poet has lost sight of the art of the form he strives to employ. He fails to realize that for poetry to enter the realm of the theatre successfully, and not become merely dramatic poetry, it must be blended carefully with the theatre's techniques. In short, it must become theatrical. Rather than dramatic poetry or poetry in the theatre, the poet's creation must become poetic drama. Then the word poetic attains the standing of an adjective, becoming a contributor rather than the principal agency.

In the case of Federico Garcia Lorca's drama the affiliation is most effectively achieved. But this only occurs after his drama has gone beyond that point where most others terminate. It was necessary that Lorca's theatre first entertain the dramatic weaknesses of El maleficio de la mariposa and Mariana Pineda; these served as the first important out-

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