By Robert M. Farrington
Robert M. Farrington sheds new gentle on 9 folk-inspired rural dramas produced via 3 ecu playwrights among 1885 and 1936: Spain’s Federico Garcia Lorca, Ireland’s John Millington Synge, and Germany’s Gerhart Hauptmann. via an research of the linguistic conventions of the 3 dramatists and through tying their performs’ language to a myth/ritual content material, this e-book defines the works as consultant of a sub-genre, that's, lyric folkdrama. A sound/meaning nexus is pointed out as a necessary component of folkdrama. to elucidate this dating among sound and that means and to set up a theoretical foundation for the linguistic research, the examine attracts from works on fantasy, ritual, drama, and poetic language by means of Aristotle, Richard Wagner, Mircea Eliade, and Northrop Frye, in addition to from serious experiences through the structuralists Roman Jakobson and Claude Lévi-Strauss.
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Additional info for European Lyric Folkdrama: A Definition
Qué pides, niño, desde tan lejos? (Pausa) Los blancos montes que hay en tu pecho. ¡Que se agiten las ramas al sol y salten las fuentes alrededor! (Cosiendo) Te diré, niño mío, que sí, Tronchada y rota soy para ti. ¡Cómo me duele esta cintura Donde tendrás primera cuna! ¿Cuándo, mi niño, vas a venir? (Pausa) Cuando tu carne huela a jazmín. 12 From where are you coming, love, my child? From the summit of hard coldness. What do you need, love, my child? The warm cloth of your shirt. ) The dog is barking in the patio, The wind is singing in the trees.
With García Lorca, a rural speech pattern appears in his tragic folkdrama, its own special musicality emerging in the cantos found in Bodas de Sangre and Yerma in particular. In addition, he recaptures the Spanish ballad, or romance, a verse form long neglected since the advent of the nineteenth century naturalist drama in prose, rejected by Modernist tendencies in poetry, as well. For Lorca, it was not so much a question of adopting a folk language, as it was simply adhering to his own sensibility nurtured in the culture of folkdrama.
In all Arabic music, dance, song or elegy the arrival of the duende is greeted with enthusiastic “Alah! ” “God! ” so very close to the Olé of the bullfight, that who knows if it might not be the same; and in all the songs from the south of Spain the appearance of the duende is followed by sincere shouts of ¡Viva Dios! a profound, human “tender” shout of a communication with God through the five senses, thanks to the duende. . ................................................. The duende . . Where is the duende?
European Lyric Folkdrama: A Definition by Robert M. Farrington