Three Tragedies: Blood Wedding, Yerma, Bernarda Alba

Three Tragedies: Blood Wedding, Yerma, Bernarda Alba

Three Tragedies: Blood Wedding, Yerma, Bernarda Alba

Three Tragedies: Blood Wedding, Yerma, Bernarda Alba

Excerpt

I do not know to what extent I should have accepted the writing of an introduction to these three plays of my brother. Having accepted the charge, I carry it out, but only after having overcome an inner resistance. Because I owed him so much both in life and after his death, it seems to me that with the writing of this I contribute, even in small measure, toward the payment of a debt of fraternal love. Yet, perhaps that debt should be left undisturbed.

For me, Federico's theatre begins with my first childhood memories. The first toy that Federico bought with his own money, by breaking open his savings bank, was a miniature theatre. He bought it in Granada, in a toy store called "The North Star," which was on the Street of the Catholic Kings. No plays came with this little theatre, so they had to be made up. This must have been his first attempt at drama. There was also the real theatre, to which our parents often took us, awakening in us an affection for it from an early age. I remember that once in Málaga, during someone's relaxed watchfulness, we ran off to go to the theatre. They were giving a racy operetta, whose raciness we did not savour. It must have been an object of curiosity, to an audience of men, to see two boys, very grave and well- mannered, in a box by themselves.

But Federico was attracted by games of theatrical nature even more than by the real theatre. He liked to play at threatre and at marionettes, to dress up the maids and make them go out into the street--grotesquely dressed sometimes, or dressed as ladies--wearing my mother's or my Aunt Isabel's street clothes. Priceless at these games was Dolores, my nurse, who became the model for the servants in Blood Wedding and in Doña Rosi ta, the Spinster. From her we heard our first folk tales--those of the un-

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