Lorca family follows political developments:
G, II
, 124–25.
“It consists Marvelous”:
FGL interview with Miguel Pérez Ferrero,
Heraldo de Madrid
, October 9, 1930, cited in Martin, “Lorca y Nueva York.”
“greater decisiveness … rite had ended”:
Cernuda, “Federico García Lorca (recuerdo),” 15.
“to recognize his nature.. cynical”:
Author interview with José Antonio Rubio Sacristán.
“I’ve done the most difficult”:
Joaquín de Entrambasaguas, “Nota preliminar,” in FGL,
Poeta en Nueva York
(selección),
Anthology of Contemporary Literature
I (Madrid: Suplemento primero de “Cuadernos de Literatura Contemporánea” del CSIC, 1945), 4.
“I have to defend”:
Martínez Nadal, “Guía al lector,” in FGL,
El público y Comedia sin título
, 260–61. Martínez Nadal also describes FGL’s recitals of his New York poems.
FGL reads
The Audience
to Morla Lynch and friends and “They haven’t understood”:
Martin, “Lorca y Nueva York,” 48; Auclair, 199; Martínez Nadal,
Lorca’s The Public
.
Manuscript of
The Audience:
Most editions of
El público
remark on the uncertain state of the manuscript. On the placement of “Song of the Idiot Shepherd,” see José Rubio Barcia, “Ropaje y desnudez de El público,”
Cuadernos Hispanoamericanos
433–34 (July-August 1986), 385–97.
The Audience:
Passages from this play are taken from OC, II, 279–327.
FGL writes brief sketch in adolescence:
Margarita Ucelay, “La problemática teatraclass="underline" Testimonios directos de Federico García Lorca,”
BFFGL
6 (December 1989), 35.
“would be sensational”:
EC
, 706. On Rivas Cherif’s plans to produce
The Audience
see “Noticias teatrales,” Luz (Madrid), May 6, 1932, 2; Sección de rumores,”
Heraldo de Madrid
, May 4, 1932, 6; and Juan G. Olmedilla, “Al margen de la escena consuetudinaria,”
Heraldo de Madrid
, November 21, 1933, 13.
“I don’t think any company”:
“Llegó anoche Federico García Lorca,”
La Nación
(Buenos Aires), October 14, 1933.
“a poem to be hissed”:
Pinto. On FGL’s publication of scenes from
The Audience
see Martínez Nadal,
Lorca’s The Public
, 19.
FGL reportedly gives nude reading:
José María Alfaro, “Hombres, aconteceres y nostalgias. Federico y
El público,” ABC
(Madrid), June 18, 1978, Sunday Cultural section, 28.
Xirgu decides to premiere
Shoemaker’s Wife:
Rodrigo, Margarita Xirgu, 168; FGL to parents (January[?] 1929), cited in Antonio Monegal, “Federico García Lorca-Luis Buñueclass="underline" Cartas inéditas,”
Plaza, Revista de Literatura
11 (Cambridge, Mass., autumn 1986), 60.
Rehearsals for
Shoemaker’s Wife:
Rodrigo,
Margarita Xirgu, 168;
FM
, 301–5; “Sección de rumores,”
Heraldo de Madrid
, December 4 and 5, 1930, 7; Hernández, introduction to FGL,
La zapatera
, 29–36.
“As you can see”:
EC
, 702. In his letter, FGL mentions that he was considering having an aviator friend fly him home for the holidays.
FGL encounters Aladrén:
Carlos G. Santa Cecilia, “La insoportable levedad de Federico,”
El País
(Madrid) August 19, 1986, x-xi;
G, II
, 128–29.
“Emilio Aladrén Perojo”:
Emilio Aladrén to FGL (August 30, 1930), AFFGL.
“absolutely pre-revolutionary”:
Pedro Salinas / Jorge Guillén, 122.
Shoemaker’s Wife
opens:
Fernández Cimentes, 98; FGL,
La zapatera
, 192.
“compensate”:
EC
, 701n.
“real work”:
“Antes del estreno. Hablando con FGL,”
La Libertad
(Madrid) December 24, 1930, 9.
Francisco García Lorca attends
Shoemaker’s Wife:
Francisco García Lorca, introduction to FGL,
Five Plays
, 15.
“share the anxiety”:
“Antes del estreno. Hablando con Federico García Lorca,”
La Libertad
(Madrid), December 24, 1930, 9.
The Shoemaker’s Wife:
Passages from this play are taken from OC, II, 191–237.
“violent” and “vulgar”:
FGL,
La zapatera
, 48.
FGL collects folk sayings:
Auclair, 263; Rodrigo,
Memoria
, 60; Altolaguirre, “Recuerdos,” 603.
“Ask a duchess”:
Auclair, 171.
“a simple farce”:
La Nación
(Buenos Aires) November 30, 1933, 11, in OC, III, 471.
“dramatic material … for later”:
Crítica (Buenos Aires), December 1, 19–13, in OC, III, 477.
“grotesque”:
“Una interesante iniciativa,”
El Sol
(Madrid), April 5, 1933, in OC, III, 407–10.
“malice and bad will”:
EC, 355.
“the voice of conscience” and “indispensable”:
“Antes del estreno. Hablando con Federico García Lorca,”
La Libertad
(Madrid), December 24, 1930, 9, in OC, III, 374.
Autobiographical elements in
Shoemaker’s Wife:
FM
, 46; Hernández, introduction to FGL,
La zapatera
, 15.
FGL adds prologue:
Hernández, introduction to FGL,
La zapatera
, 29–36; Anderson,
Garcia Lorca: La zapatera prodigiosa
, 13.
FGL performs prologue:
During the first performances of
The Shoemaker’s Prodigious Wife in Madrid
, Xirgu’s company presented a brief Chinese legend as a prelude to FGL’s play. In January 1931, the Chinese legend was dropped in exchange for Calderón’s auto sacramental,
The Grand Theater of the World
(Anderson,
García Lorca. La zapatera prodigiosa
, 64).
Critical response to
Shoemaker’s Wife:
For general discussion of critical response see Anderson,
Garcia Lorca: La zapatera prodigiosa