The group of enthusiastic friends and intellectuals who support the idea of this festival are sounding no less than an alarm. You are gathered together tonight, in the salon of the Centro Artístico, to hear my humble, yet sincere words, and I wish them to be luminous and profound, so as to convince you of the marvellous artistic truth contained in primitive Andalusian song, that which is called deep song, cante jondo. (A lecture given in Granada, 19th February 1922) Where the original works are not in the public domain, any required permissions should also be sought from the representatives of the Lorca estate, Casanovas & Lynch Agencia Literaria. Please note that Federico García Lorca's original, Spanish works may not be in the public domain in all jurisdictions, notably the United States of America. This work may be freely reproduced, stored and transmitted, electronically or otherwise, for any non-commercial purpose. Kline © Copyright 2008, All Rights Reserved. At the height of the Tower of Comares in the Alhambra. The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.( Importancia histórica y artística del primitivo canto Andaluz llamado ‘Cante Jondo’ 1922) Three aspects of performance are singled out and systematically traced through Lorca's evolving reflections on popular art and the struggle of the modern artist to create the new – from his first lecture on the cante jondo in 1922 to the Arquitectura del cante jondo (1930) and finally Juego y teoría del duende (1933). ‘Duende’ crystallizes around 1929/1930 when the poet explicitly takes into account the art of the dancer in performance. The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.ĪB - This article analyzes how Lorca develops the concept of ‘duende’, finding a crucial missing link in the Elogio de Antonia Mercé, ‘la Argentina’ (1930). N2 - This article analyzes how Lorca develops the concept of ‘duende’, finding a crucial missing link in the Elogio de Antonia Mercé, ‘la Argentina’ (1930). T1 - On the way to 'duende' (through Lorca's 'Elogio de Antonia Merce, 'la Argentina', 1930) The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.", Abstract = "This article analyzes how Lorca develops the concept of a del duende (1933).
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