Federico García Lorca

At 38 years old, Federico García Lorca has this physical status:

LOR-k?

At the start of the Spanish Civil War, Rebel faction powers executed him.

His body or bones have never been found.

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Life and career

Federico del Sagrado Corazón de Jess Garca Lorca was born in Fuente Vaqueros, a small town 17 km west of Granada, southern Spain, on June 5th, 1898. Federico Garca Rodro, his father, was a wealthy landowner with a farm in the fertile vega (valley) near Granada and a modern villa in the city's capital. Garca Rodra seen his fortunes rise with a surge in the sugar industry. Vicenta Lorca Romero, Garca Lorca's mother, was a teacher. The family moved from Fuente Vaqueros, 1905, to Valderrubio (at the time, Asquerosa) in 1905. When the boy was 11 years old, his family migrated to Granada, where the Huerta de San Vicente family was located on what was then the outskirts of the city of Granada; the Huerta de San Vicente was the summer home. For the remainder of his life, he emphasized the benefits of being close to the earth, lauding his upbringing in the country. Today, three of these houses, Fuente Valianto, Valderrubio, and Huerta de San Vicente, are on display in the National Museum.

Garca Lorca was born in 1915, after graduating from secondary school, and attended the University of Granada. His research at this time included law, literature, and composition. He had a greater affinity for music than for literature throughout his adolescence. He began piano lessons with Antonio Segura Mesa, a music teacher at the local conservatory and a composer, when he was 11 years old. Federico was inspired by Segura's dream of a career in music by Segura's. Claude Debussy, Frédéric Chopin, and Ludwig van Beethoven were among his first artistic inspirations. Later, Spanish folklore became his muse after his friendship with composer Manuel de Falla. Garca Lorca did not start writing before Segura's death in 1916, and his first prose works, including "Nocturne," "Ballade," and "Sonata," drew on musical styles. In El Rinconcillo, a group of young intellectuals assembled in the Café Alameda de Granada. Garca Lorca traveled through Castile, León, and Galicia, northern Spain, with a professor who also encouraged him to write his first book, Impresiones y paisajes (Impressions and Landscapes, which was printed at his father's expense in 1918). Although not attending classes at the University of Madrid, Fernando de los Rios persuaded Garca Lorca's parents to allow him to join Residencia de Estudiantes in Madrid in 1919.

Luis Buuel and Salvador Dal and many other contemporary artists who were, or will be popular in Spain at the Residencia de Estudiantes. He was taken under the care of poet Juan Ramón Jiménez, and he came close to playwright Eduardo Marquina and Gregorio Martez Sierra, the Director of Madrid's Teatro Eslava.

He wrote and produced his first play, The Butterfly's Evil Spell, from 1919-1920, at Sierra's invitation. It was a verse play dramatizing the inexplicable love between a cockroach and a butterfly with a supporting cast of other insects; after only four performances and changed Garca Lorca's behavior toward the theatre-going public for the remainder of his career, it was dismissed off the stage by an unappreciative audience. Mariana Pineda, who died in 1927, would later claim it was his first play. He studied law and philosophy during his time at Residencia de Estudiantes, but he was more interested in writing than in study.

Libro de poemas, Garca Lorca's first book of poems, was published in 1921, drawing on pieces from 1918 to 1920 and selected with his brother Francisco (nicknamed Pao). They were concerned with the topics of religious faith, loneliness, and nature that had populated his prose reflections. Manuel de Falla, a composer born in 1922, was sent to Argentina Garca, to promote the Conce Jondo festival, which is dedicated to flamenco performance and its cante jondo style. Garca Lorca had started to write his Poema del Cante jondo ("Poem of the Deep Song") early in 1931, so he wrote an article about flamenco and began to speak out in favour of the Conce. Manuel Torre, a flamenco cantaor, was on display at the music festival in June. He worked with Falla and others on the lama preguntón (The Girl that Waters the Basil and the Inquisitive Prince), an Andalusian tale adapted by Lorca. His collection Suites (1923) was never completed and was not released until 1983, inspired by the same basic sequence as "Deep Song."

Garca Lorca became more involved in Spain's avant-garde over the next two years. Canciones (Songs), a poetry collection published in the United States, but it did not have songs in the traditional sense. Lorca was able to exhibit a series of drawings at Barcelona's Galeries Dalmau from the 25 June to the 2 July 1927. Lorca's sketches were a mash-up of popular and avant-garde styles, complementing Canción. Both his poetry and drawings displayed the influence of traditional Andalusian motifs, Cubist syntax, and a preoccupation with sexual identity. Several drawings featured superimposed dreamlike faces (or shadows). Later, he referred to the two faces as self-portraits, showing "man's ability for crying as well as winning," in keeping with his belief that sadness and joy were as palpable as life and death.

Romancero gitano (Gypsy Ballads, 1928), as part of his Cancion collection, became his first known book of poetry. It was a highly stylized recreation of the ballads and poems that were still being taught throughout the Spanish countryside. Garca Lorca's work is described as a "carved altar work" of Andalusia with "gypsies, horses, archangels, planets, the country's Jewish and Roman breezes, rivers, and murders, as well as the smuggler's cultural record of the naked children of Córdoba. Not that visible Andalusia is portrayed at all, but "where the hidden Andalusia trembles" are found. The book brought him notoriety in Spain and the Hispanic world in 1928, but it wasn't until much later that he earned notability as a playwright that he rose to fame. The writer will look for the elements of Andaluce's history for the remainder of his life, hoping to find its roots without resorting to the "picturesque" or the cliche use of "local color."

Mariana Pineda, his second play in Barcelona, with stage designs by Salvador Dal, opened to brisk success in 1927. Garca Lorca wrote The Prosecutors Wife, a 1926 play that would not be seen until the early 1930s. It was a farce about fantasies, based on a feud between a flirtatious, extravagant wife and a hen-pecked shoemaker.

He was passionately involved with Dale from 1925 to 1928. Although Dali's friendship with Lorca contained a strong element of mutual interest, Dali denied the poet's sexual advances. Emilio Aladrén Perojo's love affair with the success of "Gypsy Ballads" also brought about separation from Dal and the breakdown of a love affair with him. These contributed to his increasing sadness, which was exacerbated by his inability with homosexuality. He believed he was trapped between the successful author's image, which he was compelled to keep in public, and his tortured, authentic self, which he could only acknowledge in private. He also had the impression that he was being pigeon-holed as a "gypsy poet." "The gypsies are a theme," he wrote. And there's nothing more. I might as well be a poet of sewing needles or hydraulic landscapes. In addition, this gypsyism gives me the appearance of an uncultured, ignorant, and primitive poet, which I'm sure I'm not. I don't want to be typecast" and wanted to avoid being "cast".

Garca Lorca's growing dissonance with his closest relatives climaxed when surrealists Dala and Luis Buuel worked on their 1929 film Un Chien Andalou (An Andalusian Dog). Garca Lorca interpreted it, perhaps incorrectly, as a vicious assault on himself. Dale also met his future wife Gala at this time. Garca Lorca's family, who was aware of these issues (but not necessarily because of their causes), arranged for him to fly to the United States in 1929-1930.

Garca Lorca went to the United States with Fernando de los Rios on the RMS Olympic, a sister liner to the RMS Titanic in June 1929. They stayed mainly in New York City, where Rios began a lecture tour and Garca Lorca enrolled at Columbia University School of General Studies, which was funded by his parents. He read English, but like before, was more taken in by writing than by reading. He lived in John Jay Hall at Columbia. He worked in Vermont and later in Havana, Cuba.

Poeta en Nueva York (Poet in New York, published posthumously in 1942) explores alienation and loneliness through some experimental poetic methods, and was influenced by the Wall Street tragedy, which he personally witnessed.

This attack on urban capitalism and materialistic modernity was a drastic departure from his earlier work and labeling as a folklorist. El pblico (The Public), his play of this period, was not released until the late 1970s and has never been published in complete form, according to the complete manuscript, which has apparently been lost. However, the Hispanic Society of America in New York City holds several of his personal letters.

Garca Lorca's return to Spain in 1930 coincided with the demise of Primo de Rivera's tyrantical reign and the establishment of the Second Spanish Republic. Garca Lorca was named director of Teatro Universitario La Barraca (The Shack) in 1931. The Ministry of Education of the Second Republic supported it, and it was charged with traveling around Spain in order to attract audiences to classical Spanish theatre free of charge. They wanted to bring theatre to people who hadn't seen one before, with Garca Lorca directing and acting. "Outside of Madrid, the theatre, which is in essence a part of the people's life, is almost dead, and people die as a result of their two eyes, ears, or a sense of taste, as they would if they had lost their two eyes, or ears, or even a sense of smell." We [La Barraca] are going to give it back to them." His travels through impoverished rural Spain and New York, particularly among the disenfranchised African-American population, made him a tireless promoter of social action. "The theatre is a school of weeping and gyration," he said, "a free forum in which men can challenge customs that are outmoded or inaccurate, and can demonstrate with living example the universal human heart's eternal values."

Garca Lorca of La Barraca wrote his now best-known plays, Blood Wedding, Yerma, and The House of Bernarda Alba, which all rebelled against bourgeois Spanish society's accepted values. He called for a revival of European theatre and the re-examination of traditional conventions, such as the time's popular drawing-room comedies. His research challenged the accepted role of women in society and delves into tabopinions of homoeroticism and class. Garca Lorca wrote little poetry in this last year of his life, noting that "theatre is poetry that rises from the book and becomes human enough to talk and scream, weep and mourn."

Garca Lorca, who traveled to Buenos Aires in 1933 to give lectures and direct the Argentina premiere of Blood Wedding, recalled his distilled theories on artistic creation and performance in the Duende's famous lecture Play and Theory. This essay attempted to create a framework of artistic inspiration, arguing that great art is based on a keen awareness of death, identification with a nation's soil, and an acknowledgment of reason's limitations.

Garca Lorca returned to theatre's classical roots, as well as returning to more traditional poetic styles. Sonetos de amor oscuro (Sonnets of Dark Love, 1936), Rafael Rodrn's last poetic work, was long based on his admiration for him. Juan Ramrez de Lucas, a 19-year-old with whom Lorca hoped to migrate to Mexico, was the inspiration, according to documents and mementos that were revealed in 2012. San Juan de la Cruz, a 16th-century poet, inspired the love sonnets. By 1934, the rightist government in La Barraca cut its subsidy in half, and the country's last results were given in April 1936.

Lorca lived at the Huerta de San Vicente from 1926 to 1936. Here's a few of his famous books that include bloodletting (1931), Blood Wedding (1932), Yerma (1934), and Diván del Tamarit (1931–1936). The poet lived in San Vicente in the days right before his capture and assassination in August 1936.

Although Garca Lorca's drawings aren't often noticed, he was also a natural artist.

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