Escena
1 (Madrid, May 1935), in OC, III, 562. On the family’s Calle Alcalá apartment, see also
G, II
, 230–31; author interviews with Isabel García Lorca and Jose Caballero; Fernández-Montesinos, “Descripción,” xi.
“joy of being able to collaborate”:
FGL, “Presentación del auto sacramental
La vida es sueño
de Calderón de la Barca, representado por La Barraca,” in OC, III, 221.
“socialist tuxedos”:
“Antena literaria,”
Gracia y Justicia
(Madrid), December 24, 1932, 10.
FGL defends Barraca:
José María Salaverría, “El carro de la Farándula,”
La Vanguardia
(Barcelona), December 1, 1932, in OC, III, 397–98; author interview with María del Carmen Lasgoity; Luis Araquistaín to FGL (November 15, 1932), AFFGL.
Rehearsals for
Blood Wedding:
FM, 154 and 335, trans. GM, 201; Josber, “Cuatro breves preguntas, al pasar, a Josefina Días de Artigas,” in FGL,
Bodas de sangre
, ed. José Monleón, 2nd ed. (Barcelona: Aymá, 1975), 65–66; Auclair, 274–75:; Luis Fernández Cifuentes, “García Lorca y el éxito: el caso de
Bodas de sangre”
in Soria Olmedo, 87–88;
El Imparcial
(Madrid), March 3 and 28, 1928.
“full force”:
Hernández, introduction to FGL,
Bodas de sangre
, 34, citing
El Imparcial
(Madrid), March 28, 1933.
“Tell me I’m great”:
Guardia, 79.
“No!! Any one of my actresses”:
Saenz de la Calzada, 110.
“secondhand artists”:
Remarks by FGL to José Weissberger, cited in Christopher Maurer, “Bach and
Bodas de sangre,”
in
Lorca’s Legacy: Essays on Lorca’s Life, Poetry, and Theatre
, eds. Manuel Durán and Francesca Colecchia (New York: Peter Lang, 1991), 107–9.
“Don’t pull that Lorca business”:
Ontañón.’
“The Spanish theater … so desires”:
El Imparcial
(Madrid), January 7, 1933, and February 5, 1933.
Opening night of
Blood Wedding:
Hernández, introduction to FGL,
Bodas
, 33–6; Auclair, 274–76; GM, 201;
Luz
(Madrid), March 9, 1933; Morla Lynch, 330–34.
Reviews of
Blood Wedding:
Fernández Cifuentes, 135–41; “Beatriz:
Bodas de sangre,” ABC
(Madrid), March 9, 1933, 43; Antonio Espina, “Estreno en el Teatro Beatriz,”
Luz
(Madrid), March 9, 1933; Melchor Fernández Almagro, “Teatros. Beatriz. Estreno de
‘Bodas de sangre,”’ El Sol
(Madrid), March 9, 1933, 8; “Un éxito teatral de García Lorca,”
Defensor de Granada
, March 11, 1933, 1; Auclair, 276; María Francisca Vilches de Frutos and Dru Dougherty,
Los estrenos teatrales de Federico García Lorca
[1920–45] (Madrid: Tabapress / Fundación Federico García Lorca, 1992), 774–75. On additional performances of
Blood Wedding
, see
G, II
, 230, citing “Cartelera,”
Heraldo de Madrid; FM
, 336; Andrew A. Anderson, “Representaciones provinciales de dramas de García Lorca en vida del autor,”
Segismundo
41–42 (Madrid, 1985), 270–75;
La Vanguardia
(Barcelona), May 31, 1933, 10; M. Rodríguez Codolá, “Teatro y conciertos. Poliorama.
Bodas de sangre
, tragedia en tres actos, ivididos en siete cuadros, original de Federico García Lorca,”
La Vanguardia
(Barcelona), June 2, 1933, 10; Ignacio Agustí,
“Bodas de sangre,” Mirador
(Barcelona), June 8, 1933, 5.
“a member of the bourgeoisie … reality”:
“Charlando con García Lorca,”
Crítica
(Buenos Aires), October 15, 1933, in OC, III, 447.
“magnificent tragedy”:
Antonio Machado to FGL (March 12, 1933), AFFGL.
“I feel calm and content” and “Why haven’t you written”:
EC
, 753.
“these days … applause and glory”:
EC
, 754–56. On FGL’s loneliness, see also Eduardo Vílchez to FGL (
c
. 1935), AFFGL.
20. Voice of Love: 1933
FGL’s typical daily behavior, 1933:
Author interview with Isabel García Lorca; Martínez Nadal,
The Public
, 11; author interview with José Caballero; author conversation with Rafael Martínez Nadal; Ontañón y Moreiro, 107–8; Ontañón, “Semblanza”; Cernuda, “Federico García Lorca,” 16; Suero, “Crónica”; FM, 442.
“true noctambulist”:
Salvador [García Picossi] to FGL (December 12, 1935), AFFGL.
“No, fortunately”:
“Llegó anoche Federico García Lorca,”
La Nación
(Buenos Aires), October 14, 1933,
9, in
OC, III, 445.
“it was as if”:
Higuera Rojas, 58.
“She formed me”:
EC, 735.
“One feels … eloquence”:
Morla Lynch, 164.
“a gentleman … delightful”:
Suero, “Crónica.”
FGL collaborates with Ucelay on
Don Perlimplín:
José Gordon,
Teatro experimental español (Antología e historia
) (Madrid: Escelicer, 1965), 21;
FM
, 313–14; author interview with Margarita Ucelay; Margarita Ucelay, introduction to FGL,
El amor de don Perlimplín y Belisa en su jardín
, ed. Margarita Ucelay (Madrid: Cátedra, 1990); Auclair, 219–21; Margarita Ucelay, “Federico García Lorca y el Club Teatral Anfistora: el dramaturgo como director de escena,” in Soria Olmedo, 54; J. G., “Margarita Ucelay: Recuerdos de la profesora y de la actriz,”
El Público
68 (Madrid, May 1989), 8–9; Agustín de Figueroa, “El Club teatral ‘Anfistora,’” Ahora (Madrid), December 29, 1934; Mario Hernández, introduction and notes to FGL,
La zapatera
, 41, 333–61; author interview with Santiago Ontañón.
“kitsch … won’t allow,” “chamber opera” and “The work is built”:
“Una interesante iniciativa: el poeta Federico García Lorca habla de los clubs teatrales,”
El Sol
(Madrid), April 5, 1933, in OC, III, 407–9.
Critical response to
Don Perlimplín:
Review
by M. Nuñez de Arenas in
La Voz
(Madrid), April 6, 1933, 3; Enrique Azcoaga, “Perlimplín y Belisa,”
Hoja Literaria
(Madrid), April 1933, 10. On Ontañón’s inaudibility, see