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La aventura estética de nuestra edad

(Barcelona: Seix Barral, 1962), 266.

FGL relinquishes La Barraca:

EC

, 820; Byrd, 86; Auclair, 261;

G, II

, 431; “Una declaración de Federico García Lorca relativa a La Barraca,”

La Noche

(Barcelona), April 9, 1936,15; Valentín de Pedro, “El guiñol que a Federico le regalaron en Buenos Aires,’ relato de María del Carmen García Lasgoity,”

¡AquíEstá!

X, 940, May 21, 1945, 5–21.

Club Anfistora rehearses

Once Five Years Pass:

Auclair, 320–21; Penón, 183; Margarita Ucelay, “Federico García Lorca y el Club Teatral Anfistora: el dramaturgo como director de escena,” in Soria Olmedo, 56–59; J. G., “Margarita Ucelay: Recuerdos de la profesora y de la actriz,”

El Público

68 (Madrid, May 1989), 8–9; Ana Mariscal,

Cincuenta años de teatro en Madrid

(Madrid: Avapiés, 1984), 33–34; author interview with Margarita Ucelay.

FGL’s “impossible theater”:

Auclair, 321; J. G., “Margarita Ucelay: Recuerdos de la profesora

y de la actriz,”

El Público

68 (Madrid, May 1989), 8; “Conversaciones literarias. Al habla con Federico García Lorca,”

La Voz

(Madrid), April 7, 1936, in OC, III, 631; “Llegó anoche Federico García Lorca,”

La Nación

(Buenos Aires), October 14, 1933, in OC, III, 444.

FGL writes

Bernarda Alba:

“Sección de rumores,”

Heraldo de Madrid

, May 29. 1936, 9; Salazar,

“La casa de Bernarda Alba”

30; Morla Lynch, 483–88;

FM

, 372; José Bergamín, “‘La luz de esta memoria’ (Cuando han pasado cuarenta años),”

Sábado Gráfico

(Madrid), March 17, 1976, 20–21; author interview with José Caballero.

Factual basis for

Bernarda Alba:

Morla Lynch, 488–89;

FM

, 376–78; C. B. Morris,

García Lorca. La casa de Bernarda Alba

, Critical Guides to Spanish Texts, 50 (London: Grant and Cutler, 1990), 15; Morris,

Son of Andalusia

, 133–44; Antonio Ramos Espejo, “En Valderrubio, Granada.

La casa de Bernarda Alba,” Triunfo

XXXIV, 6th series, 4 (Madrid, February 1981), 58–63; Antonina Rodrigo, “La auténtica ‘Doña Rosita la soltera,’”

El País Semanal

(Madrid), August 17, 1980, 5; author visit to the cemetery of Valderrubio (formerly Asquerosa), Granada province. Although town records list Frasquita Alba as “Francisca,” her contemporaries have always referred to her as “Frasquita,” a name I have chosen to retain in the text. I am grateful to José Pérez Rodríguez and Francisco Padilla Martín for having enabled me to consult FGL’s confirmation records (Church Archive, Valderrubio, Confirmations [August 15, 1907]) and Frasquita Alba’s death certificate (Church Archive, Vaslderrubio, Burials, no. 25 [July 23, 1924]).

“The only topics that interest me”:

Antonio Aparicio, “Federico García Lorca y su época,”

Atenea

XCIII, 286 (1949), 59.

The House of Bernarda Alba:

All quotations from the play are taken from OC, II, 581–634. For commentary on the play see C. B. Morris,

García Lorca. La casa de Bernarda Alba

, Critical Guides to Spanish Texts, 50 (London: Grant and Cutler, 1990); Hernández, introduction to FGL,

La casa de Bernarda Alba;

Fernández Cifuentes,

García Lorca en el teatro;

Francisco García Lorca, introduction to FGL,

Three Tragedies;

Altolaguirre,

Obras completas

I,

Estudios literarios

, 210;

FM

, 376, 435–36; Umbral, 182–83; Arturo Barea,

Lorca: The Poet and His People

, trans. Use Barea (New York: Grove Press, 1949). FGL’s ideas for the set design come in part from an author interview with José Caballero.

“It’s because women are more passionate”:

García-Posada, “García Lorca en Uruguay,” 86.

“too daring”:

Jean Gebser,

Lorca, poète-dessinateur

(Paris: GLM, 1949), 16, quoted in Hernández, notes to FGL,

La casa de Bernarda Alba

, 168.

“cannot be a Spanish wife”:

La Alhambra

(Granada), June 15 and 30, 1919, 358.

FGL’s trilogies:

On FGL’s “trilogy of the Spanish land,” see Hernández, introduction to FGL,

La casa de Bernarda Alba

, 29. On his proposed Biblical trilogy, see Marie Laffranque, introduction and notes, in FGL,

Teatro inconcluso

, 13, 51–60; Hernández, introduction to FGL,

La casa de Bernarda Alba

, 33–34; Salazar,

“La casa de Bernarda Alba,”

30; Martínez Nadal,

El público

, 259–62.

Political situation, June

1936: Thomas, 24–30, 141–59; Jackson, 218–29; Payne, 103–6; Preston, 131–32.

“My laughter today”:

Angel Lázaro, “Galería. Federico García Lorca,”

La Voz

(Madrid), February 18, 1935, in OC, III, 558.

FGL’s fear of old age:

FGL, “Los ojos de los viejos” (March 20, 1918), in OC, IV, 311–12; Auclair, 206; Luna, “La vida”; “Encuentro con Federico García Lorca,”

El Ideal

(Montevideo), February 1, 1934; Isabel Cuchí Coll,

Del Madrid literarioMadrid

1933–1934 (San Juan: Imprenta Venezuela, 1935), 80.

FGL interview with Luis Bagaría:

” Bagaría, “Diálogos.” On FGL’s request that an exchange be deleted from the interview, see EC, 823–824.

“I don’t want that”:

Edgar Neville, “La obra de Federico, bien nacional,”

ABC

(Madrid), November 6, 1966.

“abusive”:

G, II

, 447–48.

“Those of us who have mothers like you and I”:

Author interview with José Antonio Rubio Sacristán.

FGL continues to contemplate trip to Mexico:

FM

, xxvi; Felipe Morales, “Conversaciones literarias. Al habla con Federico García Lorca,”

La Voz

(Madrid), April 7, 1936, in OC, III, 632–33; 1939–1982 (Mexico City: Salvat y Fondo de Cultura Económica, 1982), 636–37; La Argentinita to FGL (May 2, [1936]), cited in Maurer, “De la correspondencia,” 85; Auclair, 317; Penón, 117; Morla Lynch, 489; Pablo Suero,

Figuras contemporáneas

(Buenos Aires: Sociedad Impersona Americana, 1943), 54–55; Ian Gibson, “Poeta en Nueva York, Poeta en La Habana,”

América

92 7 (Madrid, August-September-October 1986);

G, II