Word: lorca
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Dates: during 1980-1989
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Fernandez-Cifuentes has published two books inSpanish, "The Theory and Marketing of the Novel"(1982) and "Garcia Lorca in the Theater...
...most of the fault lies in the translation. Director Marya Cohn adapted an already existing translation herself, which means that the blame for the loss of Garcia Lorca's poetic diction and for the unusual interpretation of certain characters is hers. Poetry, even free verse such as Garcia Lorca's galloping, assonant verse. If the actors delivery of this awkward English version of Garcia Lorca's poetry falls flat at times, they may be excused...
What Garcia Lorca's puppets of fate lack in characterization and human complexity, they make up for intensity of emotion. All the actors give appropriately intense performances, but Clark's Mother, Brody's Wife and Gasser's Bride deserve special mention. Clark and Brody offer true anguish at the impending loss of their men, and Gasser convinces that she is torn between her fiance and the man fate decrees...
...show is also excellent technically, as one would expect from a Mainstage production. Effective use is made of eerie lights, smoke, gauzy curtains, vivid sets, and sound effects. The sets and costumes usually don't match Garcia Lorca's explicit instructions, though and their symbolic meanings are lost...
Still, Cohn has changed Blood Wedding in many fundamental way. Garcia Lorca's primal story and themes remain, but his poetry and Andalusian spirit are either lost on the audience or are simply lost. The actors and production crew bring technical polish to the production, but the translation and Cohn's other changes tend to dilute their efforts to provide Blood Wedding with the intensity it deserves...