Read Three Tragedies: Blood Wedding, Yerma, Bernarda Alba by Federico García Lorca Richard L. O'Connell James Graham-Lujan Online

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In these three plays, García Lorca's acknowledged masterpieces, he searched for a contemporary mode of tragedy and reminded his audience that dramatic poetry-or poetic drama-depends less on formal convention that on an elemental, radical outlook on human life. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unIn these three plays, García Lorca's acknowledged masterpieces, he searched for a contemporary mode of tragedy and reminded his audience that dramatic poetry-or poetic drama-depends less on formal convention that on an elemental, radical outlook on human life. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The result, both performable and readable, has been thoroughly revised for this edition, which is introduced by Christopher Maurer, general editor of the Complete Poetical Works of García Lorca....

Title : Three Tragedies: Blood Wedding, Yerma, Bernarda Alba
Author :
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ISBN : 9780837195780
Format Type : Hardcover
Number of Pages : 212 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Three Tragedies: Blood Wedding, Yerma, Bernarda Alba Reviews

  • Ahmad Sharabiani
    2019-03-13 08:15

    Three Tragedies: Blood Wedding, Yerma, Bernarda Alba, Federico García Lorca تاریخ نخستین خوانش: چهاردهم ماه نوامبر سال 2001 میلادیعنوان: سه نمایشنامه: عروسی خون، یرما، خانه برناردا آلبا؛ نویسنده: فدریکو گارسیا لورکا؛ مترجم : احمد شاملو؛ نشر چشمه در 328 صا. شربیانی

  • Panagiotis
    2019-03-03 10:13

    Ανέκαθεν μου άρεσαν τα θεατρικά έργα. Δεν είχα διαβάσει ποτέ μου, αλλά στα πεζά πάντα με έλκυαν οι διάλογοι, αν γράφω μου είναι πολύ εύκολο να αναπαραστήσω διαλόγους, ενώ από την θεατρική αίθουσα βγαίνω με μια γλυκιά ανάταση, ακόμα και αν πρόκειται για ένα μέτριο έργο. Τελευταία γυρόφερνα την ιδέα να δοκιμάσω να διαβάσω ένα θεατρικό. Σε ένα ταξίδι μου στην Ανδαλουσία, έπεσα πάνω σε τούτο το βιβλίο και το πήρα δίχως δεύτερη σκέψη.Η εισαγωγή είναι πολύ κατατοπιστική για το βάρος του Ισπανού δημιουργού. Λέγεται πως διακρίνει τα έργα του μια σπάνια ποιητικότητα - όχι μόνο οι εικόνες που μεταφέρει, αλλά η ρίμα του συχνά στους διαλόγους. Αλλά και το όραμά του για μια μουσικότητα στις παραστάσεις. Πολλές φορές συνθέτει τους διαλόγους με μια ρυθμική πολυφωνία -φωνές να μπαίνουν και να βγαίνουν, με μια αυστηρά ρυθμική διαδοχή. Ο τόμος περιλαμβάνει τρία έργα, που μάλλον αποτελούν και τα πιο γνωστά του.Υπάρχει ένα κοινός θεματικός άξονας: η γυναίκα και η θέση της στην ανδροκρατούμενη κοινωνία της υπαίθρου. Πλάσματα εσώκλειστα, που κοιτάνε την ζωή μέσα από τα παράθυρα, κυκλοφορούν με περιορισμούς και κουβαλάνε τους καημούς των αντρών και των παιδιών τους. Άλλες υποτάσσονται δίχως δεύτερη σκέψη, μα μερικές έχουν άλλες βλέψεις για την ζωή τους, ιδέες που οι άντρες τις θεωρούν μάλλον επικίνδυνες και αφελείς. Αν οι κοπέλες τολμήσουν να τις εκφράσουν, συναντούν την οργή των αντρών, ενώ ο γυναικείος περίγυρο που πάντα δρα συναινετικά, προσπαθεί να τους βάλει μυαλό. Όπως η Γέρμα που το όνειρό της να αποκτήσει παιδί τής γίνεται μια εμμονή πάνω στην οποία εναποθέτει τις ελπίδες της να ξεφύγει από την ανιαρή, σαν φυλακή ζωή της. Στον Ματωμένο Γάμο, τα πάθη ενός παράνομου ζευγαριού που καταπιέζονται, θα οδηγήσουν σε αιματοχυσία την ημέρα του γάμου της νύφης. Δεν κατανομάζεται ούτε η ίδια, ούτε κανείς άλλο σε αυτό το έργο, παρά μόνο ο ρόλος τους (γαμπρός, νύφη, μητέρα κτλ), εντείνοντας έτσι την αίσθηση πως παρακολουθούμε μια τραγωδία που διαιωνίζεται. Μεταξύ των τριών έργων ξεχώρισα το Σπίτι της Μπερνάρντα Άλμπα, όπου το δράμα είναι πιο συνεκτικό, οι διάλογοι και τα δρώμενα πατούν πιο σταθερά στην γη. Δεν έχουν την ποιητικότητα του Ματωμένου Γάμου, ούτε τα απόκοσμα τραγούδια της Γιάρμα, αλλά διαθέτει μια αγχωτική ατμόσφαιρα που φτάνει στα όρια του θρίλερ, καθώς σταδιακά ξεδιπλώνεται η αρρώστια του σπιτιού: η απολυταρχία της μητέρας έχει οδηγήσει τις κόρες της να αντιμάχονται μεταξύ τους, να δολοπλοκούν και να φθονούν ή μια την άλλη.Η μόνη που καταφέρνει να ξεφύγει από το κλουβί είναι η μεγαλύτερη, η Ανγκουστίας. Ασχημότερη αλλά με πλούσια προίκα έχει δεχτεί την πρόταση του ομορφονιού Πέπε ελ Ρομάνο. Μα δεν έχει υπολογίσει στην απόγνωση των νεαρότερων αδερφών της. Όταν μια υπηρέτρια εμβρόντητη αναθεματίζει αυτό το δηλητήριο μεταξύ των αδερφών, η γηραιότερη βάζει τα πράματα στην θέση τους λέγοντας πως "είναι γυναίκες χωρίς άντρες, αυτό είναι όλο. Ξεχνάς τότε και το ίδιο σου το αίμα" (σε δική μου απόδοση).  Πάνω από όλα βρίσκεται η τιμή της οικογένειας. Η ευτυχία θυσιάζεται και πατάσσεται, στο βωμό της χρηστοήθειας. Χαρακτηριστικό είναι το σημείο όπου η μάνα δασκαλεύει την κόρη της να μην ψαχουλεύει τα μυστικά του μέλλοντα άντρα της και προπάντων να φροντίζει να κλαίει μόνο στα κρυφά. Η κατάληξη φυσικά είναι τραγική. Και σκληρή, καθώς την ύστατη ώρα το μόνο που φαίνεται να έχει σημασία είναι η καθαρή εικόνα του σπιτιού.Αυτή η τριλογία μιλάει για πράγματα που απασχολούν ακόμα. Και τα λέει όμορφα, ποιητικά μας καυστικά μαζί. Ο ίδιος ο Λόρκα έλεγε πως το έργο ζει μόνο μέσα στην παράσταση. Το κείμενο ζει και πεθαίνει πάνω στο σανίδι και πέρα από αυτό δεν έχει τίποτα άλλο νόημα. Ακόμα κι έτσι να είναι, μέσα από το κείμενο κάποιος μπορεί να θυμηθεί την παράσταση ή να ζήσει λίγη από την μαγεία της και να παρακινηθεί να δει μια παράσταση. Εγώ, πάντως, μετά το βιβλίο θέλω να δω οπωσδήποτε ένα από τα έργα του Ισπανού.

  • Martin
    2019-03-17 10:56

    This book has four excellent parts. The first part is a 25-page foreword written by the author’s brother discussing Lorca’s influences from their upbringing. He also discusses the differing concerns in Lorca’s drama versus his poetry. Then comes “Blood Wedding” which resonated with my Mexican pastoral background. When intelligent people live in harsh environments they may be prone to morbidity. We still hold grudges 80 for things that happened nearly a hundred years ago. I appreciate that the Mother is preoccupied with one son’s death at the other son’s wedding, as I have found that funerals are much more interesting than weddings. When I cannot attend a family member’s funeral, my first question is “How was the food afterwards?” I marvel at the potential flexibility of “Yerma” which is as much a poem as it is a tragedy. A director or an actress could create various meanings out of the text, which is fairly ambiguous. I am not surprised that it has been adapted into an opera twice, as it maintains strong classical dramatic form. “The House of Bernarda Alba” was pretty good, but with all the sisters and servants I imagine it would be much easier to follow on stage than on the page.

  • Melusina
    2019-03-04 06:53

    Lorca manages the nearly unmanagable: to be a poet within the world of modern theatre. This long-forgotten tradition is what makes him so unique compared to his contemporaries. Yet within the poetry, you find harsh criticisms and the views and opinions of a man way ahead of his time. The blood creeps through this particular collection, sliding from one page to the next, engulfing the reader and the character is a blood wave whose force I can only visualise, in my mind, with S. Kubrick's most infamous "lift scene". Yerma is the one play that touched me most. The story resonates sadly until this day: A woman, today, of "advanced age", unmarried and childless, is frowned upon and often told - even by other women - that she will never know what it means "to be a woman". The discrimination of older childless women is worrying me today as much as it probably occupied Lorca. The presumption that motherhood equals womanhood needs to be seriously revised and Lorca's "blood trilogy" can only help in this sense. In some ways, he was a true feminist. Truer than many self-proclaimed feminists of these days anyway. A visionary book, oozing the blood of humanity on every page, without doubt.

  • Zahra Ab
    2019-03-09 13:22

    سه نمایشنامه از لورکا که با دقت انتخاب شده. به اعتقاد لورکا زندگی خیلی از ما به حدی به سنت ها گره خورده که همین سنت ها جلوی دست پامون و گرفته و سرانجام کسی که در برابرشون بایسته چیزی جز نابودی نیست..بازیگران دربرابر چنین سرنوشت ستمگری سر به عصیان برمی دارند. اما هم در لحظه ی عصیان نیز نیک می دانند که از گردن کشی خویش، جز اینکه دریابند از به زانو درآوردن تقدیر ناتوانند و بدین گونه بر درد و رنج خود بیفزایند، سودی نمی برند. عصیان می کنند. عصیانی بی ثمر. گردن می کشند اما بی هیچ اعتقاد و ایمانی. قد برافراشتن در برابر سرنوشت، به جز آنکه نهایت انقیاد و اطاعت ناگزیرشان را روی دایره بریزد، نتیجه ای به دست نمی دهد.

  • Jasmine
    2019-03-13 12:02

    Very interestingly written. Writing style reminds me of Hemingway, very short, straight to the point, but extremely powerful. The plots just stay stuck in your head. I'm conflicted over his portrayal of women. He clearly sees the injustice in the social expectations of a "decent" woman during turn of the century rural Spain. However, I find some of his character's actions not true to life and a rather negative portrayal of women as a whole. Yet, he clearly finds women characters more interesting, the men take secondary, if even at all, roles in his plays. I guess I need to read his comedies in order to see if this is a constant in his work.

  • treva
    2019-03-21 05:02

    Possible subtitles:Bitches Be Crazy Without Husbands and/or BabiesOtherwise Fully Capable Adults Who Cannot Take Responsibility For Their Own DecisionsMountains Out of MolehillsThese People Need Better HobbiesJane Austen Moves to Pre-War Spain and Loses Her Sense of Humor

  • Shannon McGovern
    2019-03-17 10:18

    Dark but beautiful. They are very sad, but so poetically written and presented. These translations preserve the intensity and beauty of the stories, and also give it a new life in English. I love the inclusion of some of the music in the appendix.

  • Parisa Dastmalchi
    2019-03-18 10:03

    "اینا همش تقصیر خاکه...تقصیر عطری که از تو از موهای تو بلند می‌شه" و خیلی‌ وحشتناکه که همه دلایل خودشونو دارن...

  • Caroline
    2019-02-21 05:01

    Bad enough to be anybody in Spain under the cultural regime Lorca portrays, but to be a woman or gay or poor...

  • Katie Cha
    2019-03-18 07:14

    Does not make any sense. Didn't enjoy it at all.

  • Robin
    2019-02-23 07:54

    The House of Bernarda Alba was simply wonderful.

  • Efe Karabulat
    2019-02-25 07:00

    Ne Lorca'yı seviyorum, ne İspanyol gerçeküstücülüğünü.Ankara DT, Bernarda Alba'nın Evi'ni oynadığında izlemiş ve hayatımda izlediğim en berbat oyunlardan biri olduğuna kanaat getirmiştim. Yine de hep methini duyduğum Kanlı Düğün'ü okumuş olmak, Bernarda Alba'nın Evi'ne de ikinci bir şans vermek için (bu kadar sevilen bir yazarın oyununun bu kadar kötü olmasına inanmak istemiyor, kötü bir günüme denk geldi herhalde diye düşünüyordum) bu kitabı aldım. Sonuç beni şaşırttı desem yalan olur.Ne yazarını ne de kaynağını hatırladığım harika bir yazı vardı, erkek yazarların kadın baş karakterleri olan hikayeler yazması hakkında. Anna Karenina, Madame Bovary gibi kült karakterler örnek gösteriliyor, karşı cinsi yazmakta başarının -ve başarısızlığın- sırları tartışılıyordu. Bulup bu satırların okuyucusuna okutamayacak olmam bir talihsizlik. Sizin için bir noktasına temas edeyim: Kadınları anlamak çok az erkek zihnine kısmet olacak bir iştir. Bu anlayışı geliştirmeden yazılan kadın figürü anlamsız hareket etmekten fazlasını yapamaz.Lorca'nın en büyük problemlerinden biri de bu: Kadınları bütün oyunlarda birer gerizekalı gibi davranıyor. Spoiler teşkil edecek olmasa ve küfretmenin hoş karşılanmayacağı bir ortamda bunları kaleme alıyor olmasam neler neler söyleyeceğim ama... Oyunların konuları da bana sorarsanız fiyasko. Kanlı Düğün'ü okurken ''Bu muymuş yani bütün dünyanın konuştuğu oyun? Kızımız evlenecekmiş ama eski sevgilisini unutamamış. Vay be, konunun hasıymış cidden!'' dedim. Zaten Lorca'nın oyunlarında kadınlar sevmedikleri erkeklerle evlenmezlerse olmuyor, başka türlü trajedi çıkmıyor! Niye evlendiklerini ise soran yok, es kaza olursa da ''valla severek evlenmiştik ama ne oldu ben de anlamadım'' tadında zekanıza hakaret eden cevaplarla karşılaşıyorsunuz. ''Zorla evlendirildim'' deseler o bile kabulümdü aslında!Aşk hikayesi yazmak ille de insanların sevmedikleri erkeklerle evlenmelerini ve ilk dokundukları karşı cinse deli gibi aşık olmalarını gerektirmez. Artık 3. sınıf aşk filmlerinde bile bundan çok daha iyilerini yapıyorlar. Yahu geçen hafta Terminator'ü izledim, bütün samimiyetimle söylüyorum oradaki aşk hikayesi bu oyunlardakilerden çok daha iyiydi.3 oyunu da okuduktan sonra Lorca'nın şöhretini oyunlarından değil hayat hikayesinden ve siyasi karakterinden aldığına ikna oldum. Bu durum, ne yazık ki, sanatta çok sık karşılaşılan bir durum.P.S: Başka insanların yorumlarını okurken harika bir yoruma rastladım. Gözünüzden kaçmasın diye buraya kopyalıyorum. Bence müthiş özetlemiş:''Possible subtitles:Bitches Be Crazy Without Husbands and/or BabiesOtherwise Fully Capable Adults Who Cannot Take Responsibility For Their Own DecisionsMountains Out of MolehillsThese People Need Better HobbiesJane Austen Moves to Pre-War Spain and Loses Her Sense of Humor''

  • Sean
    2019-03-01 10:18

    “The House of Bernarda Alba and Other Plays” by Federico Garcia Lorca is a beautifully executed collection of the three best known plays by one of the best Spanish language authors of the twentieth century. This translation for Penguin Modern Classics by Michael Dewell and Carmen Zapata is unique in that it was crafted through bi-lingual productions of the works with Spanish speaking actors. This practical quality makes the translation extremely fluid and captures both the meaning and the essence of the original. The three works – “Blood Wedding,” “Yerma,” and “The House of Bernarda Alba” – are often classified together as the Rural Trilogy. It is true that all three are set in the backwaters of Spain and deal with the often surreal, melancholy lives of local people. But “Bernarda Alba” feels different than the other two works, which were intended to be part of Lorca’s unfinished Rural Trilogy. “Alba” is a play with an all-female cast. In the play, the head of the house has just passed away and the mother of the house declares seven years of mourning for the entire household, including five daughters of marriageable age. The young women are trapped in the house as well as their bodies and begin to fight over the advances of an unseen paramour who is lurking and looking for their fortune.“Yerma” is about a married woman who cannot have children and the desperate lengths she will go to get a child. She longs to have children and become what society recognizes as a true woman but her barrenness drives her insane. “Blood Wedding” (my favorite of the three) has a bitter blood feud between two rival families spill over into violence and murder on the night of a wedding. These are simple explanations of two complex plays. I don’t want to give more description here because I want you to experience them for yourselves. If “Alba” is realistic in it cruelty and violence, “Yerma” and “Blood Wedding” are more surreal, symbolic, and psychological. They are mystical and deeply connected to themes of the earth and fertility. The characters are individuals but just as easily could stand for allegorical ideas. Both plays have a certain musical rhythm that is lacking in the third work. Lorca, who was also a musician and stage director, used musical techniques from songs to verbal counterpoint to craft theatrical poems that leave the reader with a mood or tone that Lorca described as duende, a heightened state of emotion and deeply rooted melancholy he felt was uniquely present in Iberian literature. I highly recommend this collection. All three plays are true classics of twentieth-century theatre. I taught “Blood Wedding” in my Modern Western Drama class and it was easily the favorite out of the eight pieces we did.

  • Daniel
    2019-02-23 12:02

    Lorca's plays are pretty good. I wasn't absolutely riveted by them but they were a good read. 'Blood Wedding' relies heavily on colour symbolism; I felt it was obviously a play that needs to be watched to 'get it'. 'Yerma' – a story about a woman who desperately wants to get pregnant – is a little slower and tortuous, both for the central character and the reader. 'The House of Bernarda Alba' was my favourite. A bunch of sisters all unmarried, governed by a cruel mother who literally imprisons them in their house... What is needed to liven things up? A moustachioed swaggerer lingering about outside the window causing three of the sisters to swoon etc., the oldest, richest and ugliest to be proposed to, while the youngest and poorest desperate to belong to the man. It all ends terribly, of course.If you're into your Spanish drama, this is definitely worth reading. I enjoyed it.

  • Drew
    2019-02-18 12:16

    Say what you want about these three plays by Lorca but for me they're the work of a true original... and each so distinct. There's something so expansive about "Blood Wedding" and something so masochistic about "Yerma" -- which seems so clearly about a gay man and his wife to me now. But my favorite of the three is "The House of Bernarda Alba," for which I was impatiently flipping the pages while asking "What's next? What's next? What's next?"

  • Berk
    2019-03-03 06:00

    Kadınlar hakkında üç oyun. Belki ispanyolca metin daha şiirsel ve güzeldir ama ben bu oyunlarda yerma ve bernardo oyunlarının kadınlarla ilgili meselelerini beğenmekle beraber, başka beğenecek birşey bulamadım.

  • Doria
    2019-03-02 05:08

    A spare and simple series of translations of three of FGL’s plays. One wishes for more than a trace of his original language, but the English rendering is indelible and strong, with seemingly not a trace of fluff or fat.

  • Kaila
    2019-03-16 09:08

    there’s some great poetry + a fantastic monologue in here

  • anca
    2019-03-06 06:05

    Only read Blood Wedding, but I really appreciated the interpretation of greek tragedy in a spanish setting.

  • Tim
    2019-03-18 11:10

    This refers to the 1941 translation by Graham-Lujan and O'Connell, published by Grove Press (I think). Garcia Lorca wrote a lot in his short life, but so far as I know, these three plays are what he is remembered for in the English-speaking world. They are indeed memorable plays, full of dark passions, lust, a simple poetry, and a bit of wit sprinkled in as well. All three of take place among the peasants of the Spanish countryside, a world that an educated, urban homosexual like Garcia Lorca probably knew only from a distance. You could accuse them of being a little sentimental, but why complain about plays that keep the action moving and the passion flowing? Why complain when one is presented with interesting little poems and rich female characters like Bernarda Alba and her daughters and the bride in "Blood Wedding"? If this is soap opera, it is the very best kind. There is a recurring theme in his work - the deep passions of the individual, the yearning to fulfill the demands of one's heart and loins, are forced to come up against the rigid structures of social tradition - and tradition is bound to win out."Blood Wedding" tells the story of a young woman about to be married to a man she does not love, in order to fulfill the expectations of her family and society. The man whom she really loves has already gone that conventional route, and the two of them long secretly for each other. The play begins as the wedding day approaches, and Garcia Lorca slowly reveals the characters feelings for each other.In "Yerma", a young woman yearns deeply for a child and a family of her own, but her husband has no interest in fatherhood nor in her. Yerma talks with the other women in the village, and gets various counsels. She attempts a trip to a native herb & witchcraft healer, but her husband follows and drags her home. This is probably the least successful of the 3 plays, altho it is still pretty good. The focus is entirely on Yerma's desire for a child, and this gets a little tedious."La Casa de Bernarda Alba" is the most powerful of the bunch, if only for its harsh bitterness and stabbing one-liners. Nasty old matriarch Bernarda has just lost her husband, and her 5 single daughters are stuck in competition with each other for the local menfolk. The bulk of the inheritance goes to the ugly, sickly 39 year-old daughter, Angustias, and this windfall attracts a 25 year-old suitor, Pepe, who never actually appears on stage. In fact, no men appear onstage - this play has a claustrophobic atmosphere of bitter girls and women who are unable to escape each other, so they plot endlessly and secretly against one another. The youngest daughter, Adela, gets surreptitiously involved with Pepe, much to the chagrin of another daughter, Martirio, who would also like to get into Pepe's pantalones. I don't see how anyone could read or watch this play and start getting bored.This is classic stuff, easy to enjoy in book form, but even better when done on stage.

  • ArEzO.... Es
    2019-02-27 07:01

    با ترجمه ء عالی احمد شاملوست و نشر چشمه..عروسی خون :عروسی در راه است ، اما در روز عروسی ، عروس با نامزد سابقش فرار می کند ، با این که می داند که وصال او ممکن نیست و با این کارش نهایتا ً هردو جوان را نابود می کند اما تن به این کار می دهد . این همان سرنوشتی است که او را به سمت خود می کشد . خود او در جواب مادر داماد این چنین می گوید : (( پسر تو سرنوشت من بود و من گولش نزدم . اما بازوهای اون یکی ، عین خیزابی که از ته دریا بلند شده باشه منو کشید و با خودش برد ))اما گناه، گناه نامزد سابق او نیز نیست : (( اینا همش تقصیر خاکه ، تقصیر عطریه که از موهای تو بلند می شه ... )) یرما :یرما به معنای زن عقیم است و همین سمبلیسم به واقعیت گراییده و از او یک زن عقیم ساخته ست ( ناتورالیسم ) . یرما نیز اسیر تحجر و سنت هایی خشک و آزاردهنده شده و شوهری که فقط به فکر حرف مردم و آبرویش است و هیچ کاری برای شادی یرما نمی کند . او حتی دلش بچه نیز نمی خواهد و در پایان نمایش این را می فهمیم که عامل ناباروری اوست نه یرما و یرما این همه سال قربانی شده است . یرما برای بچه دار شدن حاضر به هر کاری ست ، حتی در شبی تاریک به دیدار جادوگری در قبرستان می رود ولی شوهرش جلوی او را می گیرد . او حاضر به خیانت به همسرش نیست و به پیشنهاد پیرزن داخل عبادت گاه نیز پاسخ منفی می دهد . اما او که عمرش را برای شوهرش و بچه گذاشته ، در پایان نمایش شوهرش را می کشد تا باز هم قربانی شود . او در واقع با این کار پسر و آرزوهای خود را نیز کشته است . آنجا که در پایان نمایش می گوید : (( ...می رم چنون استراحت کنم که هیچ وقت از خواب نپرم که ببینم خونم خون تازه ای رو نوید می ده یا نه . تنم واسه ابد خشکیده . ازم چی می خواین ؟ نزدیک نشید ! من پسرمو کشتم ...)) خانه ی برناردا آلبا : اسمش را می گذارم خانه ی ترشیده ها و دختران دم بخت که برای یک شوهر به سروکله ی هم می زنند تا از زندانی که برنارداآلبا برای آنها ساخته رهایی یابند . شاید برنارداآلبا تنفرآمیزترین شخصیت تمام نمایش های لورکا باشد . زنی که آن قدر متحجر ، خشکه مقدس و سنت گراست که در همان صحنه ی اول بیننده را از خود متنفر می سازد . اما تلاش این دختران نیز راهی به خوشبختیشان نمی برد . آده لا دختر کوچک حاضر است بمیرد ولی از این زندان سنت های چندش آور رهایی یابد و سرانجام نیز همین امر محقق می شود . مرگ او اما برای برناردا آلبا آنچنان تسلیم وار و جبری گرایانه ست که بیینده را با دریایی از نفرت سرجایش میخکوب می کند : (( ... اشک و گریه زاری لازم ندارم . به مرگ باید رودررو نگاه کرد . ساکت ! ( به یکی از دخترها ) گفتم ساکت !! اشکاتو نگه دار واسه روزها وشبای تنهاییت . همه خودمونو تو دریای اشک و عزا غرق می کنیم ... آده لا ، کوچیک ترین دختر برنارداآلبا باکره مرده . شنیدین که چی گفتم ؟ ساکت ! ساکت ! گفتم ساکت !))

  • Pardis Parto
    2019-03-21 06:11

    کتاب شامل سه نمایشنامه از لورکاست که در هر یک از نمایشنامه ها فردی قربانی شرایط حاکم بر جامعه میشود و مادر خانواده به این مرگ و شرایط ایجاب کننده آن گردن مینهد.اکثر قهرمانان درام های لورکا بار میراث گران وزنی را بر دوش میکشند. بار آیین و رسومی خانوادگی، بار سنن ستمگر و سخت گیر شرافتی که امروز دیگر به هیچ روی قابل درک و فهم نیست. مردها، بچه ها، مادران که در همه حال قربانی شرایط اند، بدین سنت گردن مینهند. آنا با اطاعات خویش حتا به هنگامی که از آن جز درد و رنج حاصلی برنخواهد گرفت، سنت ها را جاودانی میکنند و از آنجا که مادران بدین سنن خانوادگی سر تسلیم فرود می آروند، مرگ یا قربانی شدن فرزندان خود را چون امری اجتناب ناپذیر میپذیرند(برگرفته از مقدمه کتاب).در عروسی خون، مادر که پیشاپیش سرنوشتی مشابه شوهر و پسر از دست رفته اش برای آخرین فرزند خویش احساس میکند، خود را در پرهیز از چنین سرنوشتی ناتوان می یابد.یرما اثر فدریکو گارسیا لورکا شاعر و نمایشنامه نویس اسپانیایی، نمایشنامه‌ای در سه پرده که در سال ۱۹۳۴ نوشته شده‌است و برای نخستین بار در همان سال اجرا شد. لورکا یرما را در قالب یک شعر تراژیک بیان می‌کند. یرما داستان زنی بی فرزند است که در حاشیهٔ یکی از شهرهای اسپانیا زندگی می‌کند. انگیزه و آرزو ی مادر شدن تمام ذهنش را گرفته و در نهایت دست به کاری فاجعه آمیز می‌زند. در آن جامعه انتظار داشتن فرزند باعث می‌شود که یرما با این مساله کنار نیاید. گرچه منتقدان گفتند یرما در پایان شوهرش را به خاطر مقتصد بودن و اینکه علاقه‌ای به داشتن فرزند نداشت می‌کشد، در طول نمایشنامه علت کار به صراحت بیان نمی‌شود. به هر حال در طول نمایشنامه نشانی از تمایل شوهر به تغییر موضعش از داشتن فرزند دیده نمی‌شود. *خانه ی برنارد آلبا : اسمش را می گذارم خانه ی ترشیده ها و دختران دم بخت که برای یک شوهر به سروکله ی هم می زنند تا از زندانی که برنارداآلبا برای آنها ساخته رهایی یابند . شاید برنارداآلبا تنفرآمیزترین شخصیت تمام نمایش های لورکا باشد . زنی که آن قدر متحجر ، خشکه مقدس و سنت گراست که در همان صحنه ی اول بیننده را از خود متنفر می سازد . اما تلاش این دختران نیز راهی به خوشبختیشان نمی برد . آده لا دختر کوچک حاضر است بمیرد ولی از این زندان سنت های چندش آور رهایی یابد و سرانجام نیز همین امر محقق می شود . مرگ او اما برای برناردا آلبا آنچنان تسلیم وار و جبری گرایانه ست که بیینده را با دریایی از نفرت سرجایش میخکوب می کند. *احمد شاملو درباره آثار لورکا چنین گفته است:(( آثار نمایشی لورکا ، تراژدی هایی سخت واقع بینانه است که در تمامی شان ، همه ی آن چه ارزش شعری لورکا را برآورده می کند ، ملحوظ شده است .))

  • Sylvie
    2019-03-11 10:57

    These plays are absolutely astounding. Lorca was primarily a poet, and this is obvious in his dramatic style. In Yerma, Blood Wedding and The House of Bernarda Alba, Lorca portrays frustrated female sexuality in particular with extraordinary insight. The House of Bernarda Alba, the most naturalistic of the three, but still clearly expressionistic, is my absolute favourite. After losing her husband, Bernarda becomes the head figure of the family, and in order to retain her complete domination she stifles her four daughters completely. Only the youngest daughter, Adela, refuses to obey her mother's will and the stipulations of society and religion. Each female character suffers as a result of the inherent misogyny in early 20th century Spanish culture, but rather than attempting to form solidarity between them, they rip each other to pieces. The character Pepe Romano, who is never seen onstage but drives the daughters of Bernarda Alba into a frenzy, is the result of astounding technique, as is the offstage, heart-breaking lynching scene. The latter being offstage is certainly practical, but the fact that we don't 'see' what happens but instead the women's reactions is extraordinarily powerful, and I believe the most far more important point dramatically. These women are monstrous, though they do have fleeting moments of beauty in the play. However, their flaws are shown to be the product of extraordinary inequality, an inequality that is rarely challenged, and when it is, with terrible consequences. It isn't a coincidence that Lorca, a homosexual living in Franco's Spain, created a woman attempting to control her own sexuality despite the attempt being obviously doomed. Adela becomes "a sacrifice on the altar of respectability" (a quote actually concerning Wendla in Wedekind's Spring Awakening, but very fitting in this context too), and Lorca himself was murdered in mysterious circumstances, but for a reason that was all too obvious.This collection of plays is astoundingly rich and wonderful. I honestly can't praise it enough.

  • MarQuis
    2019-02-26 09:06

    From Blood Wedding: “...it’s so terrible to see one’s own blood spilled out on the ground...When i got to my son, he lay fallen in the middle of the street. I wet my hands with his blood and licked them with my tongue--because it was my blood.” From House of Bernarda Alba: “AMELIA: To be born a woman’s the worst possible punishment.MAGDALENA: Even our eyes aren’t our own.” Lorca’s women have a volcanic ferocity. Their passions vehement, their sorrows chasmic and eternal, and their joys transient, most of the major women characters in these three plays (Blood Wedding, Yerma, House of Bernarda Alba) seem to be at war with a man-made narrative of “proper” womanhood. One thing Lorca might be exploring in these plays is the nature of desire, how a woman can be seemingly resolved to cultural patriarchy and yet is emotionally rife with longing and regret for a life she can never live. This is evident in Blood Wedding where a bride is torn between her duty to her husband and her love for the man who arrives horseback outside her window every night. It is perhaps personified in Yerma, in the titular character’s near psychotic need for motherhood, what she seems to interpret as the ultimate expression of not only womanhood but freedom, or rather escape. It is what tears five sisters apart in House of Bernarda Alba as they live under the thunderous cane of their domineering mother. Desire. Repression. Frustration. Longing. Repentance. These words danced through my ears as I experienced these plays. I thought of Lorca and his own unrequited desires living as a gay man in mid-Civil War Spain. Maybe it was his deep familiarity with such passions that enabled him to render so palpably the heartbreaks of these women. There’s more to my feelings about these plays that are inexpressible at the moment, but we all know the tragedy of living without fulfillment and longing with no remedy.

  • Sean A.
    2019-03-10 05:05

    I actually read an oxford worlds classics edition of these plays which contained the three mentioned here plus 'dona rosita the spinster'. 'The spinster' was perhaps my favorite in my book, but NEways. So these seem to deal with the plight of conservative marriage, mainly impending marriage and anxiety and tension therein or lack of marriage, which doesn't seem any easier. They are beautifully written in lorca style, plenty of duende and what not, desperation and death as well as a plethora of earthen stylings full of roses and horses and an earthen andulusia countryside, seemingly somewhat barren and intimidating of a place. As for the marriage theme, well the plight of the characters was eye opening, yes it was a dramatized version of issues of the place and time yet it was very real at the same time. Actually reading this in a more 'liberal' period for romantic relations made somewhat a case for 'progress' in that sector, something i do and don't think about often. However, i found after four plays in a row about one theme, that there was a lot of repetition going on here. But is that lorca's fault or me the reader and the publisher's fault for trying to tackle the 'text' which is after all a series of plays, in such a manner. Also lorca's stylings itself here, what was he going for? is it poetry? is it a play? is it rhetorical? overall what it is is pretty good, tho i think my translation lost something, perhaps i should have read the edition i'm reviewing instead of the oxfords's classics edition...Ah well i plead innocence!

  • John Lucy
    2019-03-08 11:14

    I didn't read this edition specifically. There is a newer edition (probably many newer editions) of these three plays. But it's the three plays themselves that matter.Reading plays with no immediate plans to go and watch them performed is always strange. I don't like doing it. Alas, though, I have to, because I also don't like watching plays on a screen. These plays in particular, and, I imagine, any play written by Lorca, are particularly meant to be watched and experienced rather than read. I can say that without having ever seen the plays performed because the intended emotion throughout the plays is superb. Though I could certainly do without a play about love and weddings instead reading three plays about love and weddings, what better way to expose life's raw emotion and passion than love and lust with a sprinkling of duty and responsibility? Blood Wedding and Yerma are both, in my opinion, a little forced. I prefer a play that can make the background story clear rather than leaving it vague. "Something happened in the past" is not good enough for me. The House of Bernarda Alba, though, while being mostly predictable, is quite good. They're all good and they're all get your blood boiling, but Bernarda Alba is the best.

  • Talieh
    2019-03-02 11:59

    اول که چشمم به این مجموعه نمایشنامه ها با ترجمه ی احمد شاملو افتاد، تصور کردم که حتما باید نمایشنامه های بی نظیری باشن که شاملو اونا رو برای ترجمه انتخاب کرده... اما... با خوندن اولین نمایشنامه، یعنی "عروسی خون"، متوجه شدم که واقعا بعضی "بزرگان" این ژانر نویسندگی،چیزی باارزش تر از سریالای تلویزیونی خاله زنکی ننوشتند. واقعا عروسی خون از نظر من یک ستاره هم به زور داره و حتی برای شاملو هم متاسفم که همچین نمایشنامه هایی رو ترجمه کرده... امیدوارم دو نمایشنامه ی بعدی، بهتر از اولی باشند. به هرحال الان دیگه صرفا این کتاب رو میخونم تا ببینم نمایشنامه نویسان مشهور، تا چه حد میتونن نمایشنامه های بیهوده و مبتذل تولید کنن... در نهایت هیچ وقت از تئاتر و نمایشنامه نویسی خوشم نمیومده...

  • Joshua Delos reyes
    2019-03-14 07:17

    I read The House of Bernarda Alba and Blood Wedding, and have yet to read Yerma (I'll read it when I have the time.)After reading both plays, what I discovered is that Lorca FUSES (and I think this is the right term,) different concepts, and weaves them so well together to create short and interesting plays.I liked Blood Wedding more simply because of how he meticulously wrote everything in the play. I keep thinking of the creative process that went through writing his book.Definitely have to read the last one, just not today.

  • metaphor
    2019-03-15 05:16

    LEONARDO: What glass cuts at my tongue!Because I wished to forgetand build a wall out of stonebetween your house and mine.It’s true? Don’t you remember?And when I saw you afarI threw sand in my eyes.But then I climbed on my horseand the horse came to your door.With the silver pins of your veil my bloodturned to darkness,and dreams they filled my flesh with the rank odour of weeds.But the guilt of it isn’t mine,the guilt belongs to the earthit is the perfume that risesfrom your breasts and your hair.