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- Herausgeber: Lebooks Editora
- Kategorie: Poesie und Drama
- Sprache: Englisch
Blood Wedding (1933) is one of Federico García Lorca's most celebrated tragedies, blending poetic symbolism with the stark realities of passion, honor, and fate in rural Spain. The play begins with the preparations for a wedding between a young Bridegroom and his Bride, a union that promises stability and social harmony. Yet, beneath the surface, unresolved tensions stir: the Bride is secretly drawn to Leonardo, a married man from a family long in conflict with the Bridegroom's. As the wedding day approaches, the weight of tradition and societal expectations presses on the characters. Lorca sets the drama against the backdrop of a rigid, honor-bound rural community, where personal desire clashes with family duty and communal judgment. The Bride's inner turmoil becomes increasingly evident, torn between the safety of marriage and the consuming passion she feels for Leonardo. The climax unfolds after the wedding ceremony, when the Bride and Leonardo flee into the night. Pursued by the betrayed Bridegroom, the chase culminates in a fatal confrontation. Both men kill each other, leaving the Bride to face the consequences of her choices. The play closes on a somber note, with themes of blood, death, and inevitability underscoring Lorca's vision of human desire crushed by tradition and destiny. Federico García Lorca (1898–1936) was a Spanish poet and playwright associated with the Generation of '27. His works, including Blood Wedding, Yerma, and The House of Bernarda Alba, are noted for their fusion of folklore, lyrical imagery, and exploration of universal themes such as passion, repression, and the tragic power of fate. Lorca's art continues to resonate for its emotional depth and social critique, even as his life was tragically cut short during the Spanish Civil War.
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Seitenzahl: 72
Veröffentlichungsjahr: 2025
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Federico Garcia Lorca
BLOOD WEDDING
Original Title:
“Bodas de Sangre”
Contents
INTRODUCTION
CHARACTERS
BLOOD WEDDING
ACT ONE
ACT TWO
ACT THREE
INTRODUCTION
Federico García Lorca
1898–1936
Federico García Lorca was a Spanish poet, playwright, and theatre director, widely recognized as one of the most important literary figures of the 20th century. Born in Fuente Vaqueros, near Granada, Lorca is celebrated for his lyrical poetry, his innovative plays, and his ability to blend popular traditions with avant-garde techniques. His works often explore themes of love, passion, death, repression, and the struggle for freedom, making him a central figure of modern Spanish literature and culture.
Early Life and Education
Federico García Lorca was born into a prosperous family, where he was exposed to both rural traditions and intellectual circles. He initially studied law and literature at the University of Granada before moving to Madrid in 1919, where he joined the Residencia de Estudiantes. There, he became acquainted with leading intellectuals and artists of his generation, including Salvador Dalí, Luis Buñuel, and Rafael Alberti, forming part of the “Generation of ’27,” a group of writers who sought to renew Spanish literature.
Career and Contributions
Lorca’s early work includes Impresiones y paisajes (1918) and the poetry collection Book of Poems (1921). His breakthrough came with Gypsy Ballads (1928), which combined folkloric elements with modernist sensibilities, earning him wide acclaim. As a playwright, he revitalized Spanish theatre with works such as Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936). These tragedies, deeply rooted in Andalusian culture, highlight issues of social oppression, gender roles, and the tension between tradition and desire. His travels to New York and Cuba (1929–1930) also inspired the groundbreaking collection Poet in New York, where he reflected on themes of alienation and modern urban life.
Impact and Legacy
Lorca’s work fused lyricism, symbolism, surrealism, and folklore, making his style unique and influential. His ability to address universal human concerns while drawing on Spanish cultural traditions secured him a place as a major voice in world literature. He became a symbol of artistic freedom, as well as of resistance against authoritarianism, due to the political dimensions of his work and his outspoken views.
In 1936, at the outbreak of the Spanish Civil War, Federico García Lorca was arrested and executed by Nationalist forces near Granada, at only 38 years old. His death turned him into a martyr of free expression and cemented his status as an icon of Spanish culture. Despite his premature death, Lorca’s plays and poetry remain central to world literature, continuing to inspire writers, artists, and activists. Today, he is remembered not only as a brilliant poet and dramatist but also as a symbol of creativity silenced by oppression.
About the work
Blood Wedding (1933) is one of Federico García Lorca’s most celebrated tragedies, blending poetic symbolism with the stark realities of passion, honor, and fate in rural Spain. The play begins with the preparations for a wedding between a young Bridegroom and his Bride, a union that promises stability and social harmony. Yet, beneath the surface, unresolved tensions stir: the Bride is secretly drawn to Leonardo, a married man from a family long in conflict with the Bridegroom’s.
As the wedding day approaches, the weight of tradition and societal expectations presses on the characters. Lorca sets the drama against the backdrop of a rigid, honor-bound rural community, where personal desire clashes with family duty and communal judgment. The Bride’s inner turmoil becomes increasingly evident, torn between the safety of marriage and the consuming passion she feels for Leonardo.
The climax unfolds after the wedding ceremony, when the Bride and Leonardo flee into the night. Pursued by the betrayed Bridegroom, the chase culminates in a fatal confrontation. Both men kill each other, leaving the Bride to face the consequences of her choices. The play closes on a somber note, with themes of blood, death, and inevitability underscoring Lorca’s vision of human desire crushed by tradition and destiny.
Federico García Lorca (1898–1936) was a Spanish poet and playwright associated with the Generation of ’27. His works, including Blood Wedding, Yerma, and The House of Bernarda Alba, are noted for their fusion of folklore, lyrical imagery, and exploration of universal themes such as passion, repression, and the tragic power of fate. Lorca’s art continues to resonate for its emotional depth and social critique, even as his life was tragically cut short during the Spanish Civil War.
CHARACTERS
THE MOTHER
THE BRIDE
THE MOTHER-IN-LAW
LEONARDO’S WIFE
THE SERVANT WOMAN
THE NEIGHBOR. WOMAN
YOUNG GIRLS
LEONARDO
THE BRIDEGROOM
THE BRIDE’S FATHER
THE MOON
DEATH (as a Beggar Woman)
WOODCUTTERS
YOUNG MEN
BLOOD WEDDING
ACT ONE
SCENE 1
A room painted yellow.
BRIDEGROOM, ENTERING.
Mother.
MOTHER
What?
BRIDEGROOM
I’m going.
MOTHER
Where?
BRIDEGROOM
To the vineyard.
He starts to go.
MOTHER
Wait.
BRIDEGROOM
You want something?
MOTHER
Your breakfast, son.
BRIDEGROOM
Forget it. I’ll eat grapes. Give me the knife.
MOTHER
What for?
BRIDEGROOM, LAUGHING.
To cut the grapes with.
MOTHER, MUTTERING AS SHE LOOKS FOR THE KNIFE.
Knives, knives. Cursed be all knives, and the scoundrel who invented them.
BRIDEGROOM
Let’s talk about something else.
MOTHER
And guns and pistols and the smallest little knife — and even hoes and pitchforks.
BRIDEGROOM
All right.
MOTHER
Everything that can slice a man’s body. A handsome man, full of young life, who goes out to the vineyards or to his own olive groves — his own because he’s inherited them . . .
BRIDEGROOM, LOWERING HIS HEAD.
Be quiet.
MOTHER
. . . and then that man doesn’t come back. Or if he does come back it’s only for someone to cover him over with a palm leaf or a plate of rock salt so he won’t bloat. I don’t know how you dare carry a knife on your body — or how I let this serpent
She takes a knife from a kitchen chest.
stay in the chest.
BRIDEGROOM
Have you had your say?
MOTHER
If I lived to be a hundred I’d talk of nothing else. First your father; to me he smelled like a carnation and I had him for barely three years. Then your brother. Oh, is it right — how can it be — that a small thing like a knife or a pistol can finish off a man — a Mill of a man? No, I’ll never be quiet. The months pass and the hopelessness of it stings in my eyes and even to the roots of my hair.
BRIDEGROOM, FORCEFULLY.
Let’s quit this talk!
MOTHER
No. No. Let’s not quit this talk. Can anyone bring me your father back? Or your brother? Then there’s the jail. What do they mean, jail? They eat there, smoke there, play music there! My dead men choking with weeds, silent, turning to dust. Two men like two beautiful flowers. The killers in jail, carefree, looking at the mountains.
BRIDEGROOM
Do you want me to go kill them?
MOTHER
No ... If I talk about it it’s because . . . Oh, how can I help talking about it, seeing you go out that door? It’s ... I don’t like you to carry a knife. It’s just that . . . that I wish you wouldn’t go out to the fields.
BRIDEGROOM, LAUGHING.
Oh, come now!
MOTHER
I’d like it if you were a woman. Then you wouldn’t be going out to the arroyo now and we’d both of us embroider flounces and little woolly dogs.
BRIDEGROOM, HE PUTS HIS ARM AROUND HIS
MOTHER AND LAUGHS. Mother, what if I should take you with me to the vineyards?
MOTHER
What would an old lady do in the vineyards? Were you going to put me down under the young vines?
BRIDEGROOM, LIFTING HER IN HIS ARMS.
Old lady, old lady — you little old, little old lady!
MOTHER
Your father, he used to take me. That’s the way with men of good stock; good blood. Your grandfather left a son on every corner. That’s what I like. Men, men; wheat, wheat.
BRIDEGROOM
And I, Mother?
MOTHER
You, what?
BRIDEGROOM
Do I need to tell you again?
MOTHER, SERIOUSLY.
Oh!
BRIDEGROOM
Do you think it’s bad?
MOTHER. No.
BRIDEGROOM
Well, then?
MOTHER
I don’t really know. Like this, suddenly, it always surprises me. I know the girl is good. Isn’t she? Well behaved. Hard working. Kneads her bread, sews her skirts, but even so when I say her name I feel as though someone had hit me on the forehead with a rock.
BRIDEGROOM
Foolishness.
MOTHER
More than foolishness. I’ll be left alone. Now only you are left me — I hate to see you go.
BRIDEGROOM
