Lorca, Alberti, and the Theater of Popular Poetry

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Hardcover Very Good 0820415650 Not a used copy....Inside pages clean, binding tight. No remainder marks. Shipped with delivery confirmation inside US. *p/$BB2-199 All ... Secondsource inventory is on hand and ready to ship. Read more Show Less

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Product Details

Table of Contents

Prologue 1
1 The Literary Manifesto within the Recourse to Popular Traditional Art 3
The "Embestida" or Impact of the Art of Popular Tradition 5
Traditional Aesthetics: "A coger los aires" 7
The Lyric Exchange between the Pueblo and the Poeta culto 9
Gil Vicente and Lope de Vega: Primary Models of the Link between Poesia popular and Poesia culta 11
The "Linea llanista" in Spanish Literature and the Reevaluation of Spanish Literature as a Whole 13
The Recovery of the Pueblo and its Poetry by the Poets of 1927: The Historical Context 15
The Concept of "lo Popular" in the Generation of 1927: Points of Departure 24
Notes 26
2 The Experience of Traditional Poetry between Author and Audience 33
The Dramatic Potential of Popular Lyric and Narrative Poetry 33
The Integration of Popular Poetry in the Theatrical Representation of the Siglo de Oro 36
Lorca: From Song to Performance 39
Lorca's Collaboration with La Argentinita 44
Notes 59
3 At the Frontier: Traditional Poetry and the Teatro menor 67
Lorca and the "Teatro de guinolillo" 67
Alberti and the Performances at the Instituto Escuela 72
Alberti's Dramatization of El Enamorado y la Muerte 79
La pajara pinta: Popular Poetry as "Espectaculo" 83
Lorca's La zapatera prodigiosa: The Full Extension of the Traditional Farce 94
Notes 108
4 The Context of Popular Balladry and Song 117
The Singer and Seller of Tales: The Romance de ciego 118
The Romance vulgar: Steps toward Traditionalization 131
The Romance noticiero of the Nineteenth and Twentieth Centuries 136
Notes 143
5 The Stage Model of the "Cartelon de ciego" 147
Mariana Pineda: The Ballad of Tradition and Lorca's Stage Portrait 147
The Ballad of Garcia and Galan and Alberti's Dramatization 167
Notes 178
6 The Integration of Theatrical Experience
The "Teatro para llegar a todos" 187
Lorca and La Barraca: The Discovery of "Pueblo" as "Publico" 187
Bodas de sangre: The "Poema en Movimiento" 195
Notes 213
Epilogue: "La hora marcada" 219
Notes 223
Appendix: The Lesson of the Theater of Gil Vicente and Lope de Vega 225
Notes 252
References 259
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