ffd8ffe000104a46494600010201004c004c0000ffe20c584943435f50524f46494c4500
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While Lorca’s public life is well documented, biographers
are less certain about precise details concerning Lorca’s private life.The reason for this is that
Lorca was gay, and the frank disclosure of such a fact during his time would have substantially
endangered his career and social position.

Lorca was assassinated in 1936 just outside of Granada.The Spain of the early 1930s was a
country uneasily negotiating the shift from monarchical, parliamentary traditionalism to full
democracy and cultural liberalism.The political and social situation in Spain was as beleaguered
and chaotic as that which characterised European politics and society, in general, at the
time.The continent as a whole was struggling with the effects of lingering post-WW I economic
depression as well as the rise of fascism in Italy, Germany, and Spain.The fascist army general
Francisco Franco was gaining support in Spain, primarily from those who feared substantive
change in either cultural or political terms. It was supporters of right-wing leaders such as
Franco who saw Lorca and others as threats to the traditionalism and dictatorial society and law
they wished to impose upon the Spanish nation. Lorca was arrested on August 16, 1936, and
shot on either August 18th or 19th.
 ffd8ffe000104a4649460001
0201009500950000ffe20c58
4943435f50524f46494c4500
010100000c484c696e6f021 Blood Wedding
000006d6e74725247422058
595a2007ce0002000900060
0310000616373704d534654
00000000494543207352474 HISTORICAL CONTEXT
20000000000000000000000
000000f6d6000100000000d The True Story
32d48502020000000000000
00000000000000000000000 The Spanish title is Bodas de Sangre, or 'Wedding of Blood'.The
00000000000000000000000 title and theme came from a murder committed in 1928 in the
00000000000000000000000 town of Nijar in the Spanish province of Almería, when a young
00000000000001163707274 woman, Francisca Cañada Morales, ran off with her cousin,
00000150000000336465736 Francisco Montes Cañada, moments before her wedding to a local
3000001840000006c777470 man.The cousin was then shot dead by the prospective
74000001f000000014626b7 bridegroom's brother. Lorca read about the incident in the Heraldo
07400000204000000147258 de Madrid newspaper and kept the cutting until he came to write
595a0000021800000014675 the play in 1932.
8595a0000022c0000001462
58595a00000240000000146 A Nation Divided
46d6e640000025400000070
646d6464000002c40000008 Spain entered the twentieth century as a constitutional
8767565640000034c000000 monarchy.The Spanish populace, however, had little faith in this
8676696577000003d400000 regime as the country was hampered by persistent and grave
0246c756d69000003f80000 economic instability. Clearly, a change in the political and
00146d6561730000040c000 economic order of things was necessary.Widely opposed forces
00024746563680000043000 vied for contention. In various parts of the country, where
00000c725452430000043c0 industrialisation had taken place, workers determined to ensure
000080c675452430000043c their proper treatment and compensation and to enhance their
0000080c625452430000043 social status.These groups were eager to see a left-wing, socialist
c0000080c74657874000000 government take the reins of Spain.These groups were forward-
00436f70797269676874202 looking in cultural terms.A society still imbued with classist
86329203139393820486577 notions, for example, was not a society able to accommodate a
6c6574742d5061636b61726 new working and middle class made up of former peasants who
420436f6d70616e79000064 would no longer tolerate the old class hierarchy.This old hierarchy
65736300000000000000127 heavily favoured the aristocracy and educated classes.These new
35247422049454336313936 social groups were also staunchly anti-monarchical, and they were
362d322e310000000000000 also secular in view.To the opposing groups of Spaniards, these
00000000012735247422049 forces of change represented a drastic and fearful break from
454336313936362d322e310 centuries of tradition, whether in social, cultural, or political
00000000000000000000000 terms.These other groups wished to maintain a traditional class
00000000000000000000000 structure, the succession of kings and queens, and the Catholic
0000000 Church as a centrally shaping social and educational force. Lorca
was on the side of change. His relations with the left-wing government voted into power in 1931
were cordial. Its Minister of Education, Fernando de los Rios, funded the theatre project of which
Lorca was artistic director (the project was called La Barraca).

The Democratic Republic Versus the Dictatorship

The political scene in Spain was highly changeable during the late 1920s and early 1930s.A left-
wing government, elected in 1931, was voted in again in 1936 after a brief return to a right-wing
government in between. But Spain seemed determined to change, to try to negotiate the
difficulties of modifying political and cultural institutions shaped for centuries by attitudes and
beliefs no longer viable.This effort was effectively halted, however, as one of the leaders of
Spain’s traditionalist factions staged a coup d’etat, or overthrow of the government, in
1936.This army general, Francisco Franco, was funded by fellow European nationalist and fascist
leaders Adolf Hitler and Benito Mussolini.A bloody three-year civil war ensued, with the forces of
Franco finally winning.As Lorca was clearly aligned with the forces of change, he was an obvious
political target at the time. He declared his solidarity with workers and the republic on a number
of public occasions. His murder was an act of terror, designed to quell the spirit of those who
contested Franco’s right to claim power by force instead of by election.The Civil War attracted a
number of foreigners, both men and women alike, sympathetic to the Republic. In democratic
regimes around the world, the Republican effort would come to be known as “The Good Fight.”
 ffd8ffe000104a4649460001
0201009500950000ffe20c58
4943435f50524f46494c4500
010100000c484c696e6f021 Blood Wedding
000006d6e74725247422058
595a2007ce0002000900060 Act I
0310000616373704d534654
00000000494543207352474 The play opens in the home of the Mother and Bridegroom. It is
20000000000000000000000 learned that her husband and other son met violent ends,
000000f6d6000100000000d presumably in a feud.They also discuss the son’s upcoming
32d48502020000000000000 betrothal and marriage, until he leaves for work at his vineyard. A
00000000000000000000000 neighbour woman arrives and provides information concerning the
00000000000000000000000 Bride and her family. She confirms the mother’s suspicions
00000000000000000000000 regarding the Bride having had an earlier love, and it turns out
00000000000001163707274 that this love, Leonardo, is from the family whose members are
00000150000000336465736 responsible for the deaths of her husband and son.The second
3000001840000006c777470 scene takes place at Leonardo’s house. Leonardo’s wife and
74000001f000000014626b7 mother-inlaw are rocking a baby to sleep. Leonardo’s wife asks
07400000204000000147258 him why his horse is always tired these days; she says he has
595a0000021800000014675 been seen “on the far side of the plains,” which is where the Bride
8595a0000022c0000001462 lives. Leonardo denies that he has been riding in that vicinity, and
58595a00000240000000146 the subject of conversation shifts to the upcoming marriage of the
46d6e640000025400000070 Bride and Bridegroom.The third and final scene of Act I takes place
646d6464000002c40000008 at the Bride’s home.The mother of the Bridegroom and the father
8767565640000034c000000 of the Bride formalise the match, each praising the worthiness of
8676696577000003d400000 their offspring.The Bride is demure and reticent in company, but
0246c756d69000003f80000 once alone with the Servant she expresses her true frame of mind,
00146d6561730000040c000 which is impatient and frustrated.The Servant asks her if she
00024746563680000043000 heard a horse at the house the night before, and the Bride says
00000c725452430000043c0 no. But, at this point, a horse is heard and both see that it carries
000080c675452430000043c Leonardo.
0000080c625452430000043
c0000080c74657874000000 Act II
00436f70797269676874202
86329203139393820486577 Act II takes place at the Bride’s house on the day of the
6c6574742d5061636b61726 wedding.Young girls and others appear singing and chanting
420436f6d70616e79000064
wedding songs. Leonardo and his wife and mother-in-law are the
65736300000000000000127
first guests to arrive, and soon Leonardo and the Bride are
35247422049454336313936
speaking heatedly. He declaims against her marriage, their
362d322e310000000000000
continued separation, and the disaster of their never having
00000000012735247422049
married. She replies that she is marrying to finally bury the past
454336313936362d322e310
and the memory of him. By the second scene of Act II the guests
00000000000000000000000
have returned from the marriage ceremony.The wedding
00000000000000000000000
celebration is set to begin. In the midst of a large gathering, the
0000000
mother and father speak of Leonardo, noting his family’s
reputation for violence. Soon, the overwhelmed Bride announces her wish to rest for a
time.When the Bridegroom goes to find her a bit later, she is nowhere to be found. It is
discovered that the lovers have fled.A party with the Bride-groom at its head is formed to seek
out the lovers and exact revenge for their transgression.

Act III

Act III takes place mostly in a forest.This is as far as the lovers have managed to flee by the
time the party catches up with them.Three woodcutters open the scene, commenting on the
terrible events. Death and the Moon also appear in this scene, both looking forward to what
will be, inevitably, somebody’s death. Death, as a beggar woman, points the way to the lovers
for the Bridegroom. In the meantime, the Bride encourages Leonardo to escape without her, as
their horse is unable to carry them both. She knows that they will try to kill him. He refuses to
leave her.With the stage directions having indicated the lovers’ exit and the Moon’s entrance,
two shrieks are heard.At the sound of the second shriek, Death appears and moves to centre
stage with her back to the audience. She spreads out her arms such that a great cape
unfurls.This impressive sight ends the second scene of Act III.The final scene of the play opens
with two girls winding a skein of red wool. Confusion reigns with various characters appearing
and asking for definitive news about the hunt for the lovers. Finally, the Mother is apprised of
the terrible truth; her last son is dead at the hands of Leonardo. Leonardo is also dead.The
Bride appears, dejected, asking for death. The Mother barely registers her presence as she
announces her final descent into inconsolable pain and suffering.
 ffd8ffe000104a4649460001
0201009500950000ffe20c58
4943435f50524f46494c4500
010100000c484c696e6f021 Blood Wedding
000006d6e74725247422058
595a2007ce0002000900060
0310000616373704d534654 Style
00000000494543207352474
20000000000000000000000 Setting
000000f6d6000100000000d
32d48502020000000000000 Lorca’s stage directions indicate settings that are simple, stark,
00000000000000000000000 and highly symbolic.The play opens within the house of the
00000000000000000000000 Bridegroom in a room that is painted yellow.The Bridegroom will
00000000000000000000000 be associated with yellow throughout the play.This colour
00000000000001163707274 symbolises his wealth, since gold is yellow, and his vigour, since
00000150000000336465736 yellow is the colour of wheat, from which bread, the food of life,
3000001840000006c777470 comes. It also symbolises his eventual death, since yellow is the
74000001f000000014626b7 colour of his lips when he is dead at the play’s end. Leonardo’s and
07400000204000000147258 the Bride’s homes, however, are characterised by the colour pink,
595a0000021800000014675 a variant on red which is the colour of passion and of vibrant life
8595a0000022c0000001462 (or blood).They are, certainly, the characters who are the most
58595a00000240000000146 passionate in the drama.The final scene takes place in a stark
46d6e640000025400000070 white dwelling, as if to suggest a place bleached of life and
646d6464000002c40000008 hope.The stage directions say that the room’s white lineaments
8767565640000034c000000 should resemble the architecture of a church.A church is the place
8676696577000003d400000 where the rituals of birth and death are routinely commemorated;
0246c756d69000003f80000 hence, it is an appropriate place for the mother to learn of her last
00146d6561730000040c000 son’s demise and to accept her future drained of happiness. In
00024746563680000043000 contrast to these dwellings, is the forest to which the lovers
00000c725452430000043c0 flee.The forest has long been that setting in literature where
000080c675452430000043c society’s rules mutate, change, break down, or no longer apply. It
0000080c625452430000043 is a wild place, beyond human-made, communal order.These
c0000080c74657874000000 lovers, clearly, cannot be together within their community, and so
00436f70797269676874202 their only recourse is to attempt to escape its bounds.Their true
86329203139393820486577 home, in some sense, therefore, is this forest.
6c6574742d5061636b61726
420436f6d70616e79000064 Modernism
65736300000000000000127
35247422049454336313936 The movement in the arts known as Modernism was an
362d322e310000000000000 international, metropolitan set of movements. Impressionism and
00000000012735247422049 Dadaism in the arts, stream-of-consciousness techniques in the
454336313936362d322e310 novel, and atonality in music are some of its central artistic
00000000000000000000000 movements and forms. It was announced very vigorously by
00000000000000000000000 Picasso’s strange Cubist paintings, for example, that instead of
0000000 painting people how they seemed in real life, painted them with
three eyes, two heads (or one head seen from different perspectives), and so forth. Other
modernist movements were Symbolism and Surrealism, to which Lorca was close. Lorca’s play is
a modernist play. Like Picasso’s paintings, it departs from realism, or the highly naturalistic and
realistic sets, plots, and action that dominate European and Spanish theatre in the decades
immediately preceding this set of movements. Lorca’s modernism entails the attempt to return
the “drama” to drama by making the theatrical event into a feast for the senses and the
deepest emotions.The stark settings, the chanting, and the songs and music all contribute to an
event which is designed to move an audience through all of the visual, aural, and dramatic
means available to the dramatist.

Chorus

A chorus in a play is made up of a group of commentators, chanters, or singers not directly

involved in the play’s action.The chorus’s role is either to comment on the action, to present the
views of the community regarding the events, or, simply, to lyrically accompany action.
Choruses of all of these types were common in Classical-age Greek plays. Lorca’s play adapts
from this tradition.A single girl, or a pair or groups of young girls, for example, will enter and
circulate at various points, singing or chanting songs and commentary. In the final scene of the
play, two young girls sing about how brief mortal life is and what might have happened at the
wedding.Their contribution is primarily a lyrical accompaniment to the action, as the mother
waits in fear to hear about the fate of her son.
 ffd8ffe000104a4649460001
0201009500950000ffe20c58
4943435f50524f46494c4500
010100000c484c696e6f021 Blood Wedding
000006d6e74725247422058
595a2007ce0002000900060
0310000616373704d534654
00000000494543207352474
20000000000000000000000
000000f6d6000100000000d Themes 1
32d48502020000000000000
00000000000000000000000 Death
00000000000000000000000
00000000000000000000000 There are two ways the theme of death is developed in this play.
00000000000001163707274 First, there is death as the end, and the enemy, of mortal life.
00000150000000336465736 Death as an inevitable end that must be accepted is developed
3000001840000006c777470 through the character of the Mother, who often laments the
74000001f000000014626b7 deaths of loved ones, while stoically enduring these painful losses
07400000204000000147258 nevertheless.There is more to this first theme of death than
595a0000021800000014675 death’s inevitability, however.The passionate bond of the lovers
8595a0000022c0000001462 gives shape to another aspect.Their bond represents human life in
58595a00000240000000146 general as being characterised by our connections to others.
46d6e640000025400000070 Death, therefore, kills not only our physical body, it also puts an
646d6464000002c40000008 end to that which makes us human. In claiming a person’s life,
8767565640000034c000000 Death sunders human bonds. Lorca introduces and develops this
8676696577000003d400000 of death in the actions of his characters. For example, it is learned
0246c756d69000003f80000 at the play’s outset that the Mother’s husband and one son were
00146d6561730000040c000 violently killed. One way the Mother mourns these events is by
00024746563680000043000 pointing to the fact that the killers reside seemingly content in
00000c725452430000043c0 jail. Not only do the killers escape real punishment, but she, the
000080c675452430000043c wholly innocent one, is the one being punished by having been
0000080c625452430000043 deprived of her loved ones, and they, the loved ones, are being
c0000080c74657874000000 punished by having been deprived of their share of life. Death
00436f70797269676874202 does not simply end life, it is anathema to it by destroying
86329203139393820486577 precious connections. Hence the play’s characterisation of death
6c6574742d5061636b61726 as a cruel and cold beggar woman who acts as the lovers’
420436f6d70616e79000064 “enemy” by revealing their whereabouts to the hunters.
65736300000000000000127
35247422049454336313936 If death is anathema to life, then being deprived of a full life is like
362d322e310000000000000 death-in-life.The theme of death-in-life is generally most closely
00000000012735247422049 associated with the female characters, although it is also closely
454336313936362d322e310 associated with Leonardo and the Bride, in particular. It is linked to
00000000000000000000000
Leonardo and the Bride since, to them, not to be able to love each
00000000000000000000000
other is not to live fully. Hence, at the end of the play, both would
0000000
prefer death than endure the death-in-life of separation.As the
First Woodcutter says,“Better dead with the blood drained away than alive with it rotting.” In
terms of the female characters, the theme of death-in-life takes on broader
connotations.Women as beings whose lives occur behind “thick walls” is underscored
throughout the play. For example, at one point in the play, the Mother asks the Bride:“Do you
know what it is to be married, child?” The Bride says she does but the Mother emphasises her
point anyway:“A man, some children, and a wall two yards thick for everything else.” Their lives,
in the private realm of the home, is like life within a thick-walled coffin. It is a death-in-life
because these exaggerated limits on women’s social roles prevents them from pursuing all of
the joys and varieties life has to offer.The men come and go; but the women are mostly at
home.While the women are depicted as having many responsibilities and solid social stature,
they are nevertheless firmly excluded from deciding how the community is run and what its
rules, laws, and traditions will be.The stark separation of male and female spheres no longer
seems like fairly divided work when the differing nature of the work is considered. If women
cannot contribute to making the rules, then the rules might not accommodate their needs. If
their needs are not accommodated then they cannot live fully and must live a death-in-life.
 ffd8ffe000104a46494600010201009600960000ffe20c584943435f50524f46494c4500010100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manner in which, in some deep sense, there are no real individuals in societies, insofar as
individualism entails total self-determination. In other words, to live in harmony with other
humans, human beings in fact conform to a limited number of roles and possibilities that accord
with the rules and agreements of social living and life. Hence, it is only Leonardo, who contests
these rules, who can be individualised by being given a proper name.The play’s development of
this problem gives credence to those critics who see the play as a criticism of sectors of Spanish
society unwilling to countenance change.These views will ring true as long as there is a need for
persons to assert themselves against their society when its institutions or laws do not allow for
the reasonable happiness and creativity of its members. Since the play generates sympathy for
the passion of the lovers, it can be seen to generate sympathy for the forces of change.

Duel Imagery & 'Blood Wedding'

Dualism: opposed or contrasted aspects; the state of being divided.

This is the elemental force that drives all the characters. The images within the play strongly
oppose each other, all of which are centred around two forces - life & death. There is an
irresolvable tension in these two forces - death is inevitable. All the other images that Lorca
uses are tense but resolvable, but always come back to this main theme of life & death.
e.g. the knife versus blood - the knife = death, - blood = life.
These images re-occur within Lorca's plays, to make us constantly emotionally involved;
intensifying our emotions so that we feel the push and pull of forces upon the characters. This
occurs because Andalusian culture had very strong association with the images, such as the
horse symbolising male power & sexuality. The audience would, therefore, respond emotionally
to the image. All the images within the play are those that were common in Andalusian culture.
The imagery was the most direct way that Lorca could gain the audience’s emotional response.
 ffd8ffe000104a46494600010201009600960000ffe20c584943435f50524f46494c450001010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unusually broad range of the theatre resources.Also impressive was its consistent high
seriousness, and its almost classical delineation of the tragic conflict.
What people were least prepared for was the mixture of
realism and poetic symbolism. Lorca had established the
tragic potential of the action during the first two acts in an
identifiable social context where social dissonance and
contradictions were driving the action towards a tragic crisis.

The problem of mixing prose and poetry throughout the play

had been an over-riding concern of Lorca's in rehearsals, and
he tirelessly worked with the cast to maintain a single
principle: to make the transitions from prose to poetry as
natural; as possible by avoiding the declamatory style of
acting that was the dominant technique on the stage at the
time.

"Symbols are the key element of the mythical Lorcian universe.They basically reproduce the
essential underlying conflict behind all of the
ffd8ffe000104a4649460001020100480048 mythologies about life and death. Their multiple,
0000ffe20c584943435f50524f46494c45000 irrational meanings allow the reader an
10100000c484c696e6f021000006d6e74725 interpretive freedom that enriches the text with
247422058595a2007ce0002000900060031 infinite connotations" Rafael Alberti.
0000616373704d534654000000004945432
07352474200000000000000000000000000 “great art depends upon a vivid awareness of death,
00f6d6000100000000d32d4850202000000 connection with a nation's soil, and an
00000000000000000000000000000000000 acknowledgment of the limitations of reason,” Lorca
00000000000000000000000000000000000
00000000000000000001163707274000001
500000003364657363000001840000006c7
7747074000001f000000014626b70740000
0204000000147258595a000002180000001
46758595a0000022c000000146258595a00
00024000000014646d6e640000025400000
070646d6464000002c40000008876756564
0000034c0000008676696577000003d4000
000246c756d69000003f8000000146d6561
730000040c0000002474656368000004300
000000c725452430000043c0000080c6754
52430000043c0000080c625452430000043
c0000080c7465787400000000436f7079726
9676874202863292031393938204865776c
6574742d5061636b61726420436f6d70616
e7900006465736300000000000000127352
47422049454336313936362d322e3100000
00000000000000000127352474220494543
36313936362d322e3100000000000000000
00000000000000000000000000000000000
00
 ffd8ffe000104a4649460001
ffd8ffe000104a46494600010201004c0
0201009500950000ffe20c58
04c0000ffe20c584943435f50524f46494
4943435f50524f46494c4500
c4500010100000c484c696e6f02100000
010100000c484c696e6f021
6d6e74725247422058595a2007ce0002 Blood Wedding
000006d6e74725247422058
0009000600310000616373704d534654
595a2007ce0002000900060
00000000494543207352474200000000
0310000616373704d534654
00000000000000000000f6d600010000
00000000494543207352474
0000d32d485020200000000000000000
20000000000000000000000
00000000000000000000000000000000
000000f6d6000100000000d Flamenco and Dance
00000000000000000000000000000000
32d48502020000000000000
00000000000000116370727400000150
00000000000000000000000 Flamenco is the traditional song and dance of the
00000000000000000000000
0000003364657363000001840000006c Gypsies (flamencos) of Andalusia in southern Spain.
00000000000000000000000
77747074000001f000000014626b7074 The art form developed over several centuries from
00000000000001163707274
00000204000000147258595a00000218 Gypsy, Moorish,Andalusian, and other roots.
00000150000000336465736
000000146758595a0000022c00000014 Flamenco music and dance became popular in the
3000001840000006c777470
6258595a0000024000000014646d6e64 early 19th century as café entertainment.
74000001f000000014626b7
0000025400000070646d6464000002c4
07400000204000000147258 Canto (“song”)
00000088767565640000034c00000086
595a0000021800000014675 is the core of
76696577000003d4000000246c756d69
8595a0000022c0000001462 flamenco, and
000003f8000000146d6561730000040c
58595a00000240000000146 like baile
0000002474656368000004300000000c
46d6e640000025400000070 (“dance”), it has
725452430000043c0000080c67545243
646d6464000002c40000008 three forms:
8767565640000034c000000
0000043c0000080c625452430000043c grande or
8676696577000003d400000
0000080c7465787400000000436f7079 hondo (“grand”
0246c756d69000003f80000
72696768742028632920313939382048 or “deep”),
00146d6561730000040c000
65776c6574742d5061636b6172642043 intense,
00024746563680000043000 profound songs,
6f6d70616e7900006465736300000000
00000c725452430000043c0 tragic in tone,
00000012735247422049454336313936
000080c675452430000043c
362d322e310000000000000000000000 and imbued
0000080c625452430000043 with duende,
12735247422049454336313936362d32
c0000080c74657874000000 the
2e310000000000000000000000000000
00436f70797269676874202 transformation
00000000000000000000000000
86329203139393820486577 of the musician
6c6574742d5061636b61726 by the depth of the emotion; intermedio (“intermediate”),
420436f6d70616e79000064 moderately serious, the music sometimes Oriental-
65736300000000000000127 sounding; and pequeño (“small”), light songs of exuberance,
35247422049454336313936 love, and nature. Individual genres include the light bulerías;
362d322e310000000000000
the more serious soleares and its lighter descendant, the
00000000012735247422049
alegrías; the fandangos
454336313936362d322e310
grandes, a serious adaptation of a lighter non-Gypsy genre;
00000000000000000000000
the malagueñas, an offshoot of the fandangos; and cantos
00000000000000000000000
grandes such as the siguiriyas gitanas and saetas. Both text and
0000000
melody of these songs, like the flamenco dance, are improvised
within traditional structures such as characteristic rhythms and chords. Zapateado, intricate toe-
and heel-clicking steps, characterises the men's dance; the traditional women's dance is based
more on grace of body and hand movement. The baile grande, especially, is believed to retain
elements of the dance of India, where the Gypsies originated. Castanets, found in Andalusian
dance, are not traditional to flamenco. Song and dance may be accompanied by jaleo, rhythmic
finger snapping, hand clapping, and shouting. In the 19th century, guitar accompaniment
became common for many genres, and guitar solos also developed. In the 20th century,
commercial pressure distorted much traditional flamenco dance. Blood Wedding shows clearly
how the simple tragic tale is as one with the spirit of flamenco; with its pain, with its
passions;with its withheld eroticism.
 ffd8ffe000104a46494600010201004c004c0000ffe20c584943435f50524f46494c4500010100
ffd8ffe000104a46494600
000c484c696e6f021000006d6e74725247422058595a2007ce00020009000600310000616373
010201009500950000ffe2
704d5346540000000049454320735247420000000000000000000000000000f6d6000100000
0c584943435f50524f4649
000d32d48502020000000000000000000000000000000000000000000000000000000000000
4c4500010100000c484c6
000000000000000000000000000000000011637072740000015000000033646573630000018
96e6f021000006d6e7472
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5247422058595a2007ce0
000146758595a0000022c000000146258595a0000024000000014646d6e6400000254000000
002000900060031000061
70646d6464000002c400000088767565640000034c0000008676696577000003d4000000246
6373704d5346540000000
c756d69000003f8000000146d6561730000040c0000002474656368000004300000000c72545
049454320735247420000
2430000043c0000080c675452430000043c0000080c625452430000043c0000080c746578740
000000000000000000000
0000000436f70797269676874202863292031393938204865776c6574742d5061636b6172642
000f6d6000100000000d3
0436f6d70616e790000646573630000000000000012735247422049454336313936362d322e3
1000000000000000000000012735247422049454336313936362d322e310000000000000000
2d4850202000000000000
00000000000000000000000000000000000000
000000000000000000000
000000000000000000000 Blood Wedding
000000000000000000000
000000000000000000001
PLOT SUMMARY
163707274000001500000
003364657363000001840 Act 1 Scene 1
000006c77747074000001 Mother has a feud with the Felixes; her husband and son
f000000014626b7074000 murdered; the second son is now getting married; bride (to be)
00204000000147258595a has been Leonardo (Felix)'s girlfriend; Bride's mother appears to
000002180000001467585 have been unfaithful.
95a0000022c0000001462
58595a000002400000001 Act 1 Scene 2
4646d6e64000002540000 Mother-in-law and Wife sing a symbolic lullaby; we are introduced
0070646d6464000002c40 to Leonardo; Wife asks him about where he's been; there is an
000008876756564000003 argument about the horse; a girl brings news about the wedding
4c0000008676696577000 and the luxuries the Bridegroom's family have bought; Leonardo
storms off; the baby wakes, lullaby repeated
003d4000000246c756d69
000003f8000000146d656 Act 1 Scene 3
1730000040c0000002474 Mother meets Father (of Bride) & the Bride herself at the cave
656368000004300000000 house four hours away; Very formal; like a business meeting; Talk
c725452430000043c0000 is about land, money and the qualities of children - almost like a
080c675452430000043c0 slave auction; gifts; uncomfortable hospitality; Mother and
000080c62545243000004 Bridegroom leave (as the Father shows them out) and the Bride
3c0000080c74657874000 fights with servant about i) the presents, and ii) Leonardo's visits
00000436f707972696768 on horseback; the scene ends with the sound of (Leonardo's) horse
742028632920313939382 whinnying.
04865776c6574742d5061
636b61726420436f6d706 Act 2 Scenes 1 and 2
Hair do in the dawn; Leonardo arrives early; we learn about
16e790000646573630000
Leonardo's poverty having stopped his marriage to the Bride;
000000000012735247422 Bride really still wants Leonardo, though she tries to suppress that
049454336313936362d32 feeling; Leonardo expresses his love for the Bride; Servant is
2e3100000000000000000 appalled by their informality and by what they are saying;
000001273524742204945 Leonardo and Bride act out a (false) farewell; we can tell through
4336313936362d322e310 the introduction of the (singing) guests that society expects her to
000000000000000000000 marry. The servant prepares the wedding feast while the others
000000000000000000000 have gone to the church; after the guests return, the tension
00000000000 gradually increases, with people crossing and recrossing the stage,
until the climax is reached when the Wife screams out that
Leonardo and the Bride have fled on the horse; the Mother instigates the chase.

Act 2 Scene 3
Leonardo and the Bride are running away, pursued by the
Bridegroom; In the moonlight, both Leonardo and Bridegroom die in
a knife-fight.
 ffd8ffe000104a4649460001
0201009500950000ffe20c58
4943435f50524f46494c4500 Blood Wedding
010100000c484c696e6f021
000006d6e74725247422058
595a2007ce0002000900060
0310000616373704d534654
00000000494543207352474
20000000000000000000000
000000f6d6000100000000d IDEAS FOR TEACHING 1
32d48502020000000000000
00000000000000000000000 Drama
00000000000000000000000
00000000000000000000000
Devising actions to accompany text requires an understanding of
00000000000001163707274
what is really going on. In Blood Wedding, the Mother's opening
00000150000000336465736
lines, for example, are, on the face of it pretty meaningless; what
3000001840000006c777470
she wants is simply to hold her son in conversation long enough
74000001f000000014626b7
for him to bring up the question of his marriage. Or at least, this
07400000204000000147258
could be one interpretation.
595a0000021800000014675
8595a0000022c0000001462 Finding "actions" to accompany the text then is an important start
58595a00000240000000146 to the process of converting script to performance. Some directors
46d6e640000025400000070 call this "actioning the text". Ask yourself: what is the playwright's
646d6464000002c40000008 aim in this scene?
8767565640000034c000000
Ask yourself: what would my aim as a director be in presenting
8676696577000003d400000
this scene for performance? Start writing letters to Lorca.While
0246c756d69000003f80000
Stanislavsky worked on Chekhov's plays, notably Three Sisters and
00146d6561730000040c000
00024746563680000043000 The Cherry Orchard, he constantly wrote to Chekhov, then living in
00000c725452430000043c0 the Crimea, to ask for advice and elucidation regarding the text.
000080c675452430000043c (In his replies, Chekhov was often frustrated by the director's
0000080c625452430000043 inability to see things as subtly as he himself did!)
c0000080c74657874000000 If you were directing this scene, what observations would you
00436f70797269676874202 make to its author, Lorca, if you were able? What issues does it
86329203139393820486577 raise which engage your interest? How and where would you
6c6574742d5061636b61726 congratulate Lorca for specific achievements? What problems
420436f6d70616e79000064 does the opening scene raise?
65736300000000000000127
35247422049454336313936
362d322e310000000000000 Flamenco
00000000012735247422049
454336313936362d322e310 Blood Wedding was adapted into a film in 1981.The film, directed
00000000000000000000000 by Carlos Saura, tells the story through a stylised form of
00000000000000000000000 flamenco dance (a flamenco troupe was used in the film).The film
0000000 is in Spanish, but subtitled versions are available

Try comparing Blood Wedding on the stage with Carlos Saura’s 1981 film.
Curiously, perhaps, Saura declines to present Act 3.There are no Woodcutters; Scene One is
reduced to a stylised knife-fight.There is no mourning: Scene Two is reduced to one despairing
gesture from the Bride.

Using flamenco music and ideas from the film, devise mime or dance performances of Scenes
One and Two from Act Three.
 ffd8ffe000104a4649460001
0201009500950000ffe20c58
4943435f50524f46494c4500
010100000c484c696e6f021 Blood Wedding
000006d6e74725247422058
595a2007ce0002000900060
0310000616373704d534654 IDEAS FOR TEACHING 2
00000000494543207352474
20000000000000000000000 Creating a Monologue
000000f6d6000100000000d
32d48502020000000000000 Take the idea of removing all the lines of a character and piecing
00000000000000000000000 them all together to create a monologue. This could be done with
00000000000000000000000 the character of the Mother to increase understanding of the
00000000000000000000000 thoughts and feelings of that character. This is a task that would
00000000000001163707274 also work well with playwrights such as Chekhov who often
00000150000000336465736 isolates his characters in their dialogue. They appear to converse
3000001840000006c777470 but are often so absorbed in their own tales that nobody actually
74000001f000000014626b7 listens. Some characters are still talking of the same things
07400000204000000147258 throughout the play while the other characters are oblivious.
595a0000021800000014675
8595a0000022c0000001462 Looking beyond the Surface of the Dialogue
58595a00000240000000146
46d6e640000025400000070 Take a couple of lines at a time and discuss all the different ways
646d6464000002c40000008
in which those couple of lines could be delivered. This task will
8767565640000034c000000
encourage the pupils to think more deeply about the content
8676696577000003d400000
within the dialogue of the scene and the various possible
0246c756d69000003f80000
subtexts that could be bubbling beneath the surface.
00146d6561730000040c000
00024746563680000043000
Communicating with Body Language
00000c725452430000043c0
000080c675452430000043c
There is a practical extension of this: Act out a scene in which two
0000080c625452430000043
people play the same character simultaneously. One plays the
c0000080c74657874000000
actual action and meaning of dialogue whilst the other plays the
00436f70797269676874202
subtext. This can be used to help pupils consider how they can
86329203139393820486577
6c6574742d5061636b61726 communicate subtext and tension through their body language
420436f6d70616e79000064 and movements without altering dialogue. All these skills will
65736300000000000000127 hopefully contribute to an improved piece of drama.
35247422049454336313936
362d322e310000000000000 Music and Passion
00000000012735247422049
454336313936362d322e310 Look at Lorca’s love of the Spanish Flamenco – a passionate
00000000000000000000000 dance about temptation. Though this is not specified in the text,
00000000000000000000000 any opportunity to see Flamenco performed (better in reality but
0000000 on video would suffice) would help the pupils to understand the
depth of emotion that Lorca would have wanted to be apparent
from the movements of his players.

Essay Suggestions

Which character do you sympathise with most?

There is a lot of symbolism in Blood Wedding. In what way is Leonardo’s character symbolic?
How is symbolism used in Blood Wedding. How far is each character a symbol?
How would you stage Act 3 of Blood Wedding? What problems would there be?
How does the writer use choral devices to effect? In what way are the woodcutters a chorus?
How is the role of the Mother investigated in the play?
Reread the last three pages of Blood Wedding. How far do you think Mother and Bride are
reconciled at the end? How does staging contribute to meaning?

Sources:
Notes on Drama Blood Wedding on Answers.com.Notes on Drama Copyright © 2006 by Answers
Corporation. PGCE English with Drama Coursebook, 2002-2003, Univ. of Gloucester. eNotes.com/Blood-
Wedding.
 ffd8ffe000104a464946000102
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74725247422058595a2007ce0
Blood Wedding
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0000000000000000000000000
0000000000000000000000000
0000000000000000000000000
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014646d6e6400000254000000
70646d6464000002c40000008
8767565640000034c00000086
76696577000003d4000000246
c756d69000003f8000000146d6
561730000040c000000247465
6368000004300000000c72545
2430000043c0000080c675452
430000043c0000080c6254524
30000043c0000080c74657874
00000000436f7079726967687
4202863292031393938204865
776c6574742d5061636b61726
420436f6d70616e7900006465
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0000000000000000
 rhythm which would set the tone of the play, these rhythms are very distinct and recognisable
cultural reference of Andalucia , Southern Spain where Flamenco originates from. I was very
adamant that my interpretation would aim to capture an authentic cultural voice I wanted to
find were Lorca was coming from!
So began the journey of visualising the whole, because it is
impossible to imagine the whole thing in detail at the start
of the process. I knew that I wanted to create a piece that
would be driven by the text, the actor, the music, the visual
image, the sound and to use the Brechtian technique of
stepping in and out of character. I visualised an ensemble
piece that has the versatility to move in any direction and
drive the dynamic, the actors would also become a Greek
chorus in parts as I was interested in the power of the
Chorus in tragedy. Obviously I researched from books, the
internet and libraries as one does, but this couldn’t give me
all that I needed which was to experience Lorca’s culture
first hand. So I travelled to Granada and Madrid to broaden
my knowledge
and to see with Lorca’s eyes.
What is important to you as a director when creating a show like this?

The important thing is to not be rigid with your thoughts and ideas to include all things from a
colour or an image or a sound, however small, into your plan. I often find that if something has
ignited my imagination
i.e. the sound of a heel in the darkness, then this will lead me into the next idea and the next,
this is what we call an organic process as things naturally evolve.

home/ family/ group of friends/ society.

ffd8ffe000104a46494600010201004800480
ndividuals000ffe20c584943435f50524f46494c4500010
& relationships within the family and/or society. How might this exercise relate to the text? Which
100000c484c696e6f021000006d6e74725247
a scene taking these rules into consideration – show in some way that they perhaps doubt these rules
422058595a2007ce00020009000600310000
616373704d53465400000000494543207352
her: using47420000000000000000000000000000f6d6
metaphors & similes to express the rules. Consider the use of space to show status – mark your m
000100000000d32d48502020000000000000
within the000000000000000000000000000000000000
play? Introduction to the term 'poetic realism'. How does it enhance the play?
000000000000000000000000000000000000
eal?ism, symbolism
000000000011637072740000015000000033
64657363000001840000006c777470740000
01f000000014626b70740000020400000014
7258595a00000218000000146758595a0000
022c000000146258595a0000024000000014
646d6e640000025400000070646d64640000
02c400000088767565640000034c00000086
76696577000003d4000000246c756d690000
03f8000000146d6561730000040c00000024
74656368000004300000000c725452430000
043c0000080c675452430000043c0000080c
625452430000043c0000080c746578740000
0000436f7079726967687420286329203139
3938204865776c6574742d5061636b617264
20436f6d70616e7900006465736300000000
00000012735247422049454336313936362d
322e31000000000000000000000012735247
422049454336313936362d322e3100000000
000000000000000000000000000000000000
0000000000
 ffd8ffe000104a4649460001
0201009500950000ffe20c58
4943435f50524f46494c4500 Blood Wedding
010100000c484c696e6f021
000006d6e74725247422058
595a2007ce0002000900060
0310000616373704d534654
00000000494543207352474
20000000000000000000000
000000f6d6000100000000d
32d48502020000000000000
What is involved in your process?
00000000000000000000000
00000000000000000000000
00000000000000000000000 Different approaches depending on the style of the piece, for
00000000000001163707274 example,Wall Talks in 2007 was a site specific piece created in The
00000150000000336465736 Tobacco Warehouses @ The Stanley Dock, Liverpool and the
3000001840000006c777470 process for this was dictated by and led by the site and its
74000001f000000014626b7 demands, as well as the stories that it had to tell. However, my
07400000204000000147258 creation process is always the same and involves a lot of research,
595a0000021800000014675 gathering of images, songs, music, stories, films around the subject
8595a0000022c0000001462 matter of the text.The next step is the preparation work with the
58595a00000240000000146 set designer for this I will tell them my vision (which is usually
46d6e640000025400000070 fragmented and includes all of the above!) to this they will add their
646d6464000002c40000008 ideas and begin their own process of gathering and shaping their
8767565640000034c000000 design, once we have an agreed outline of the basic design I will
8676696577000003d400000 bring in the lighting designer and they will begin their process and
0246c756d69000003f80000 so it goes on . . .
00146d6561730000040c000
00024746563680000043000
Working with the composer/ musician follows a similar process of
00000c725452430000043c0
gathering, sharing and filtering ideas as we go. For Blood Wedding
000080c675452430000043c
we have the great opportunity to work with the master of
0000080c625452430000043
flamenco guitar, Juan Martin which is a dream come true, Juan
c0000080c74657874000000
who was born in Andalucia possess a sensitivity and profoundly
00436f70797269676874202
deep understanding and connection with the world that Lorca
86329203139393820486577
portrays in Blood Wedding. Juan will share this with us in the
6c6574742d5061636b61726
rehearsal room and it will inform all the rhythms of the play not
420436f6d70616e79000064
only in the music and the dancing but also in the transitions, the
65736300000000000000127
35247422049454336313936 exchanges and the text.
362d322e310000000000000 As a director I will work out the mechanics of each scene and then
00000000012735247422049 pass that on to the actors who will then ‘play’ and usually
454336313936362d322e310 discover even better ways of telling the story.The following are
00000000000000000000000 also included in the creative process for Blood Wedding:
00000000000000000000000 Script read through Flamenco workshops everyday with
0000000
choreographer Mask and character work ( finding the physicality of
the character) Developing the chorus – choral work Developing the character Improvising –
telling the truth of the story
 ffd8ffe000104a46494600010201004c004c0000ffe20c584943435f50524f46494c45000101000
00c484c696e6f021000006d6e74725247422058595a2007ce0002000900060031000061637370
4d5346540000000049454320735247420000000000000000000000000000f6d6000100000000
d32d485020200000000000000000000000000000000000000000000000000000000000000000
0000000000000000000000000000001163707274000001500000003364657363000001840000
006c77747074000001f000000014626b707400000204000000147258595a0000021800000014
6758595a0000022c000000146258595a0000024000000014646d6e640000025400000070646d
6464000002c400000088767565640000034c0000008676696577000003d4000000246c756d69
000003f8000000146d6561730000040c0000002474656368000004300000000c7254524300000
43c0000080c675452430000043c0000080c625452430000043c0000080c746578740000000043
6f70797269676874202863292031393938204865776c6574742d5061636b61726420436f6d706
16e790000646573630000000000000012735247422049454336313936362d322e31000000000
000000000000012735247422049454336313936362d322e31000000000000000000000000000
000000000000000000000000000
The Alhambra Gypsy flamenco shows Performances by young experimentalist flamenco
musicians and dancers Arabic Baths
Granada Cathedral
Catholic mass in Granada Surrounding villages We brought back lots of images and even a
pomegranate from a tree
in Lorca’s garden. Granada means pomegranate, an image whose
poetic implications were not lost on Lorca.The fruit, he would
write, is hard and skull-like on the outside, but inside it contains
the “blood of the wounded earth”
Olivia took over 500 photographs and I took video footage for reference,
documentation and archive.We also brought back lots of postcards, leaflets, prints, and CD’s
The director Carlos Saura has made 3 films Bodas de Sangre (Blood Wedding), Carmen and
Flamenco and these have been part of mine and Olivia’s research, as well as the actors.
In Madrid I went to the Lorca Fundacion and met with Lorca’s niece Laura Lorca who is the
president of the foundation.The foundation is based in the institution that Salvador Dali, Luis
Bunuel, Pablo Picasso and Lorca would have stayed at in Madrid. Here I discovered a more
intimate portrait of Lorca told through his families eyes as well as gaining an understanding of
the impact of his work throughout the world.
 ffd8ffe000104a46494600010201009600960000ffe20c584943435f50524f46494c4500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the first time. Next I will re-read and annotate the script breaking it down into units creating my
own thorough synopsis of the play. I will generate a thematic breakdown noting music, nature,
family, mood and imagery and a practical breakdown noting locations, furniture, big props,
Character insights, small props, costumes and any technical references e.g.“the walls start to
bleed”. In my copy of the script I also highlight other details such as time lines, and family trees
of the characters involved.
All of the above gives me plenty of scope to start the visual researching using a wide range of
resources including libraries, Internet, books, magazines, museums, films etc… Sketchbooks get
filled with ideas, mood boards and images. I find it useful to create a collage storyboard of the
play containing the above elements to illustrate a coherent visual style and pace as reference
for myself and as a tool to communicate with the Director; I can see the colours, shapes,
textures and images that they are also drawn to.This process is combined with further research
such as the trip to Granada. (The specific research I undertook is explained further in a later
question)
Alongside this research I undertake a technical
exploration of the performance space detailing practical ffd8ffe000104a464946000102010048
considerations relating to capabilities such as flying 00480000ffe20c584943435f50524f464
traps, sightlines etc… 94c4500010100000c484c696e6f02100
0006d6e74725247422058595a2007ce
I then start sketching set ideas looking into how the 00020009000600310000616373704d5
space will evolve throughout the piece. From these I 3465400000000494543207352474200
build a 3D 1: 25 scale model of the theatre and the 00000000000000000000000000f6d600
entire set design combining it with storyboards and 0100000000d32d48502020000000000
costume sketches to present a final design to the 0000000000000000000000000000000
Director. Eventually when the design is agreed I start 0000000000000000000000000000000
the Technical drawings and meetings with the 0000000000000000000000011637072
production team.The focus is on budget, construction, 7400000150000000336465736300000
practical considerations and scheduling which all inform 1840000006c77747074000001f000000
the continued modification of the design. 014626b707400000204000000147258
595a00000218000000146758595a000
0022c000000146258595a0000024000
000014646d6e6400000254000000706
46d6464000002c40000008876756564
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dressings, weaving at first hand. Other research includes a
cultural study into Spain, its climate, topographies, rural
traditions, history and people. I undertook a lot of reading
on rural Spain, the moors, the Iberian conquest, flamenco,
duende and in particular writings on Lorca.This includes
biographies, other plays, his artwork and footage of the
Barraca.
Most specifically the influences of death, nature and the surrealist movement are important to
gain an insight into the visual themes and symbolism he has incorporated into the text.
What made you want to get into theatre design?

As a creative personality I always had strong artistic abilities and spent the majority of my
childhood in my imagination inventing worlds around me.The choice of theatre design seemed
an appropriate outlet for my natural instincts. I think that if I was a pure artist I would find
creating art for arts- sake with boundless avenues of expression futile.At the same time I would
not want to be restricted by a specific medium such as a graphic design purely doing graphics.
Theatre design requires a variety and adaptability from illustration, interior design, photography
through to sculpture. Not only is the function of a designer adaptable, the medium of theatre
itself is also flexible. Blood Wedding being set at the Liverpool Playhouse, a traditional
Proscenium stage, varies greatly from working as associate designer on One Step Forward One
Step Back in 2008, which was a promenade, non-text based production. Both these projects
differ again to the nature of designing site-specifically in the Tobacco Warehouses on Wall Talks
in 2007. I find this variety of theatre design is exciting as it allows me to be constantly learning
and creating.
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Contact Us: Cut to the Chase Productions

By Mail: Parr Street Studios, 33- 45 Parr Street, Liverpool, L1 4JN By email:

[email protected] Cut to the Chase Productions website is here.

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Page 22

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