Teatro de García Lorca: a arte que se levanta da vida

Abstract

Was Federico García Lorca a political agent? This is the question that frames the research here presented. However, this question must be split in two in order to be properly answered: first, who was García Lorca, taking into account his life and work; second, the several possibilities for political action. Politics is not restricted to the institutional realm, but permeates individual and societal relationships, being present both in public and private affairs, touching and being touched by art. A tragic artist, Federico García Lorca constitutes the main focus of this research. To find the politics in Lorca, it is essential to understand the relationship between his art and his life and society. With that in mind, the investigation starts from both external and internal analyses of Lorca's works. The external analysis explores Spain before its Civil War, given the importance of the period which is mirrored in Lorca's works. For internal analysis, the theatrical pieces Yerma and The House of Bernarda Alba were analyzed to investigate both the relationships among characters, and the social conventions shown in these works. Furthermore, a number of conferences and interviews with the author are employed in a dialogue with the theatrical works, with the goal of understanding his relationships with art and society. García Lorca's art, voiced by flamenco, communicated with his society and received an answer: death by firing squad. Lorca wasn't limited to his own time and space, but survives today, be it through his deeply disquieting art, or be it through his still mystery-shrouded death