Excursion to Granada to see the show ‘Lorca and La Pasión’

Lorca and the Passion. A Sea of ​​Dreams

Lorca and Granada cycle in the Generalife Gardens

Starring and directed by Marina Heredia, Eva la Yerbabuena in choreography and Rosario Pardo in dramaturgy. This team will put on stage a reflection on female love in the work of Federico García Lorca based on four of his works: The public, The house of Bernarda Alba, So spend five years and Mariana Pineda.

What is love? Each person would have a different answer to that question. An answer that would change, in addition, with the passage of time. 

We propose this project as a reflection on female love in the work of Federico García Lorca, starting with the four works proposed for the show “Lorca and Granada in the Generalife Gardens, 2019”. 

Federico loved all his life. He loved a lot, many people and in very different ways. He loved torrentially and loved without limits or moderation. Federico also sought to be loved, loved. For all this, love is one of the essential themes in his work and to represent Lorca’s love is to return Federico’s life, again and again, to make it continue to inhabit our hearts. 

From this premise part of the project to contest: a vindication of love through different female characters of the Lorca work. A reflexive claim. A claim, also, very contemporary, bringing some of the Lorca topics to contemporary Spanish society.

Love is polyhedral, mutable and different. Love presents different faces, modalities and perspectives. Love, always necessary, essential to continue breathing. Does it make sense to live without loving? 

The show consists, then, of four different paintings, but perfectly stitched, with the feminine love as protagonist and in which, without solution of continuity, we went from “El Público” to “La Casa de Bernarda Alba”, we continue with “Así let five years pass “and we ended up in” Mariana Pineda “.

The chosen order alternates the most modern and less known works of Federico García Lorca, his so-called “impossible theater”, with the most popular and accessible to the public.

It is a transversal reading of the Lorca’s universe through a multimedia representation in which singing and dancing go hand in hand with the filmed images, with a set design in which there are screens and which takes advantage of all the possibilities of the Generalife Theater , including the stalls and the trees, through an integrating lighting that will give prominence to all the elements that make it up. 

This Quartet appeals to the infinity and the globality of love, represented by the four cardinal points. It also appeals to the four primal elements – earth, water, air and fire – and to the fourth dimension, time, which allows us to relive and reconstruct different modalities of Lorca’s feminine love.

The first painting, part of “El público”, is based on the character of Julieta and represents romantic love, in contrast to the violent, cruel and predatory love represented by the herd … of horses. 

This piece claims the most sensual love, the most desired; as opposed to love stolen and violated. “What I want is to love. To love, to love … “, will be what Julieta shouts, after coming to the world after leaving the tomb. 

And the love that opposes masculine violence, confronting it, tame it and cutting its mane. 

With Julieta returning to the grave, the transition to the second painting is made, based on “The House of Bernarda Alba” and which starts with bells that ring the dead and Bernarda turning her home into an inviolable tomb during the eight years that the mourning lasts. death of her husband. 

Through the chosen character, Poncia, one of the least treated in one of Federico García Lorca’s best-known works; earthly love is claimed, carnal love. A realistic love, too, with feet firmly on the ground.

A love, however, that ends in tragedy, with Bernarda demanding silence and with a dress hanging on a heart-shaped balloon presiding over the stage, virginal. False and tragically virginal. 

Through the dress, which will fall on the mannequin protagonist of the following painting, we link ourselves with “So that five years pass”, to claim the maternal love, the most conventional and attached to tradition. The love that a child desires, as the supreme culmination. 

And so it connects with the last painting, dedicated to “Mariana Pineda”, which represents ideological and political love, the love of freedom, love as a demand for demands that demands and demands the independence of women. A selfless and incorruptible love. An absolute love willing to reach the end, that does not surrender or bend. A love of freedom, wounded by men, and condemned to loneliness and death.

Jesus Lens