Federico García Lorca

Federico del Sagrado Corazón de Jesús García Lorca[1] (Spanish

Federico García Lorca
pronunciation: [feðeˈɾiko ðel saˈɣɾaðo koɾaˈθon de xeˈsuz ɣaɾˈθi.a
ˈloɾka]; 5 June 1898 – 19 August 1936), known as Federico García
Lorca[a] (English: /ɡɑːrˌsiːə ˈlɔːrkə/ gar-SEE-ə LOR-kə), was a
Spanish poet, playwright, and theatre director.

García Lorca achieved international recognition as an emblematic

member of the Generation of '27, a group consisting of mostly poets
who introduced the tenets of European movements (such as
symbolism, futurism, and surrealism) into Spanish literature.[2][3] He
was killed by Nationalist forces at the beginning of the Spanish Civil
War.[4][5][6][7][8] His remains have never been found.

Contents
Life and career Lorca in 1932
Early years Born Federico del Sagrado
As a young writer Corazón de Jesús
The Second Republic García Lorca
Assassination 5 June 1898
Fuente Vaqueros,
Search for remains
Granada, Andalusia,
Censorship Spain
Memorials Died 18 August 1936
See also (aged 38)
List of major works Near Alfacar,
Poetry collections Granada, Spain
Select translations Nationality Spanish
Plays Education Columbia University,
Short plays University of Granada
Filmscripts
Occupation Playwright, poet,
Operas
theatre director
Drawings and paintings
Movement Generation of '27
List of works based on García Lorca
Parent(s) Federico García
Poetry and novels based on García Lorca
Rodríguez
Comics based on García Lorca
Vicenta Lorca Romero
Musical works based on García Lorca
Signature
Theatre, film and television based on García Lorca
Notes
References
Sources
Further reading
External links

Life and career

Early years

García Lorca was born on 5 June 1898, in Fuente Vaqueros, a small town 17 km west of Granada, southern
Spain.[9] His father, Federico García Rodríguez, was a prosperous landowner with a farm in the fertile vega
(valley) surrounding Granada and a comfortable villa in the heart of the city. García Rodríguez saw his
fortunes rise with a boom in the sugar industry. García Lorca's mother, Vicenta Lorca Romero, was a
teacher. After Fuente Vaqueros, the family moved in 1905 to the nearby town of Valderrubio (at the time
named Asquerosa). In 1909, when the boy was 11, his family moved to the regional capital of Granada,
where there was the equivalent of a high school; their best known residence there is the summer home called
the Huerta de San Vicente, on what were then the outskirts of the city of Granada. For the rest of his life, he
maintained the importance of living close to the natural world, praising his upbringing in the country.[9] All
three of these homes—Fuente Vaqueros, Valderrubio, and Huerta de San Vicente—are today
museums.[10][11][12]

In 1915, after graduating from secondary school, García Lorca

attended the University of Granada. During this time his studies
included law, literature and composition. Throughout his
adolescence he felt a deeper affinity for music than for literature.
When he was 11 years old, he began six years of piano lessons with
Antonio Segura Mesa, a harmony teacher in the local conservatory
and a composer. It was Segura who inspired Federico's dream of
developing a career in music.[13] His first artistic inspirations arose
from the scores of Claude Debussy, Frédéric Chopin and Ludwig
van Beethoven.[13] Later, with his friendship with composer Manuel
de Falla, Spanish folklore became his muse. García Lorca did not
begin a career in writing until Segura died in 1916, and his first
prose works such as "Nocturne," "Ballade," and "Sonata" drew on
musical forms.[14] His milieu of young intellectuals gathered in El
Rinconcillo at the Café Alameda in Granada. During 1916 and 1917,
García Lorca traveled throughout Castile, León, and Galicia, in
northern Spain, with a professor of his university, who also
encouraged him to write his first book, Impresiones y paisajes
(Impressions and Landscapes – printed at his father's expense in García Lorca ca 1904.
1918). Fernando de los Rios persuaded García Lorca's parents to let
him move to the progressive, Oxbridge-inspired Residencia de
Estudiantes in Madrid in 1919, while nominally attending classes at the University of Madrid.[14]

As a young writer

At the Residencia de Estudiantes in Madrid, García Lorca befriended Luis Buñuel and Salvador Dalí and
many other creative artists who were, or would become, influential across Spain.[14] He was taken under the
wing of the poet Juan Ramón Jiménez, becoming close to playwright Eduardo Marquina and Gregorio
Martínez Sierra, the Director of Madrid's Teatro Eslava.[14]

In 1919–20, at Sierra's invitation, he wrote and staged his first play,

The Butterfly's Evil Spell. It was a verse play dramatising the
impossible love between a cockroach and a butterfly, with a
supporting cast of other insects; it was laughed off the stage by an
unappreciative public after only four performances and influenced
García Lorca's attitude to the theatre-going public for the rest of his
career. He would later claim that Mariana Pineda, written in 1927,
was, in fact, his first play. During the time at the Residencia de
Huerta de San Vicente, summer
Estudiantes, he pursued degrees in law and philosophy, though he
home of Lorca's family in Granada,
had more interest in writing than study.[14] Spain, now a museum

García Lorca's first book of poems, Libro de poemas, was published

in 1921, collecting work written from 1918 and selected with the
help of his brother Francisco (nicknamed Paquito). They concern the themes of religious faith, isolation, and
nature that had filled his prose reflections.[15] Early in 1922 at Granada García Lorca joined the composer
Manuel de Falla in order to promote the Concurso de Cante Jondo, a festival dedicated to enhance flamenco
performance. The year before Lorca had begun to write his Poema del cante jondo ("Poem of the Deep
Song," not published until 1931), so he naturally composed an essay on the art of flamenco,[16] and began to
speak publicly in support of the Concurso. At the music festival in June he met the celebrated Manuel Torre,
a flamenco cantaor. The next year in Granada he also collaborated with Falla and others on the musical
production of a play for children, La niña que riega la albahaca y el príncipe preguntón (The Girl that
Waters the Basil and the Inquisitive Prince) adapted by Lorca from an Andalusian story.[17] Inspired by the
same structural form of sequence as "Deep Song," his collection Suites (1923) was never finished and not
published until 1983.[15]

Over the next few years, García Lorca became increasingly involved in Spain's avant-garde. He published a
poetry collection called Canciones (Songs), although it did not contain songs in the usual sense. Shortly
after, Lorca was invited to exhibit a series of drawings at the Galeries Dalmau in Barcelona, from 25 June –
2 July 1927.[18] Lorca's sketches were a blend of popular and avant-garde styles, complementing Canción.
Both his poetry and drawings reflected the influence of traditional Andalusian motifs, Cubist syntax, and a
preoccupation with sexual identity. Several drawings consisted of superimposed dreamlike faces (or
shadows). He later described the double faces as self-portraits, showing "man's capacity for crying as well as
winning," inline with his conviction that sorrow and joy were inseparable, just as life and death.[19]

Romancero Gitano (Gypsy Ballads, 1928), part of his Cancion series, became his best known book of
poetry.[20] It was a highly stylised imitation of the ballads and poems that were still being told throughout
the Spanish countryside. García Lorca describes the work as a "carved altar piece" of Andalusia with
"gypsies, horses, archangels, planets, its Jewish and Roman breezes, rivers, crimes, the everyday touch of
the smuggler and the celestial note of the naked children of Córdoba. A book that hardly expresses visible
Andalusia at all, but where the hidden Andalusia trembles."[20] In 1928, the book brought him fame across
Spain and the Hispanic world, and it was only much later that he gained notability as a playwright. For the
rest of his life, the writer would search for the elements of Andaluce culture, trying to find its essence
without resorting to the "picturesque" or the cliched use of "local colour."[21]

His second play, Mariana Pineda, with stage settings by Salvador Dalí, opened to great acclaim in
Barcelona in 1927.[14] In 1926, García Lorca wrote the play The Shoemaker's Prodigious Wife, which would
not be shown until the early 1930s. It was a farce about fantasy, based on the relationship between a
flirtatious, petulant wife and a hen-pecked shoemaker.
From 1925 to 1928, he was passionately involved with Dalí.[22]
Although Dali's friendship with Lorca had a strong element of
mutual passion,[b] Dalí rejected the erotic advances of the poet.[23]
With the success of "Gypsy Ballads," came an estrangement from
Dalí and the breakdown of a love affair with sculptor Emilio
Aladrén Perojo. These brought on an increasing depression, a
situation exacerbated by his anguish over his homosexuality. He felt
he was trapped between the persona of the successful author, which
he was forced to maintain in public, and the tortured, authentic self, Postcard from Lorca and Dalí to
which he could acknowledge only in private. He also had the sense Antonio de Luna, signed "Federico."
that he was being pigeon-holed as a "gypsy poet." He wrote: "The "Dear Antonito: In the midst of a
gypsies are a theme. And nothing more. I could just as well be a poet delicious ambience of sea,
of sewing needles or hydraulic landscapes. Besides, this gypsyism phonographs and cubist paintings I
gives me the appearance of an uncultured, ignorant and primitive greet you and I hug you. Dalí and I
poet that you know very well I'm not. I don't want to be are preparing something that will be
typecast."[21] 'moll bé.' Something 'moll bonic.'
Without realizing it, I have deposited
Growing estrangement between García Lorca and his closest friends myself in the Catalan. Goodbye
reached its climax when surrealists Dalí and Luis Buñuel Antonio. Say hello to your father. And
salute yourself with my finest
collaborated on their 1929 film Un Chien Andalou (An Andalusian
unalterable friendship. You've seen
Dog). García Lorca interpreted it, perhaps erroneously, as a vicious
what they've done with Paquito!
attack upon himself.[24] At this time Dalí also met his future wife (Silence)" Above, penned by Dalí:
Gala. Aware of these problems (though not perhaps of their causes), "Greetings from Salvador Dalí"
García Lorca's family arranged for him to make a lengthy visit to the
United States in 1929–30.

In June 1929, García Lorca travelled to the US

with Fernando de los Rios on the RMS Olympic, a “
sister liner to the RMS Titanic.[25] They stayed
mostly in New York City, where Rios started a Green wind. Green branches.
lecture tour and García Lorca enrolled at The ship out on the sea
Columbia University School of General Studies, and the horse on the mountain.
funded by his parents. He studied English but, as With the shadow at the waist
before, was more absorbed by writing than study. she dreams on her balcony,
He also spent time in Vermont and later in Havana, green flesh, green hair,
Cuba. with eyes of cold silver.

”
His collection Poeta en Nueva York (Poet in New
York, published posthumously in 1942) explores From "Romance Sonámbulo",
alienation and isolation through some graphically ("Sleepwalking Romance"), García Lorca
experimental poetic techniques and was influenced
by the Wall Street crash which he personally
witnessed. This condemnation of urban capitalist
society and materialistic modernity was a sharp departure from his earlier work and label as a folklorist.[25]
His play of this time, El público (The Public), was not published until the late 1970s and has never been
published in its entirety, the complete manuscript apparently lost. However, the Hispanic Society of America
in New York City retains several of his personal letters.[26][27]

The Second Republic

García Lorca's return to Spain in 1930 coincided with the fall of the
dictatorship of Primo de Rivera and the establishment of the liberal, leftist
Second Spanish Republic.[25] In 1931, García Lorca was appointed director
of a student theatre company, Teatro Universitario La Barraca (The Shack).
It was funded by the Second Republic's Ministry of Education, and it was
charged with touring Spain's rural areas in order to introduce audiences to
classical Spanish theatre free of charge. With a portable stage and little
equipment, they sought to bring theatre to people who had never seen any,
with García Lorca directing as well as acting. He commented: "Outside of
Madrid, the theatre, which is in its very essence a part of the life of the
people, is almost dead, and the people suffer accordingly, as they would if
they had lost their two eyes, or ears, or a sense of taste. We [La Barraca] are
Statue of Lorca in the Plaza
going to give it back to them."[25] His experiences traveling through
de Santa Ana, Madrid
impoverished rural Spain and New York (particularly amongst the
disenfranchised African-American population), transformed him into a
passionate advocate of the theatre of social action.[25] He wrote "The theatre
is a school of weeping and of laughter, a free forum, where men can question norms that are outmoded or
mistaken and explain with living example the eternal norms of the human heart."[25]

While touring with La Barraca, García Lorca wrote his now best-known plays, the "Rural Trilogy" of Blood
Wedding, Yerma and The House of Bernarda Alba, which all rebelled against the norms of bourgeois
Spanish society.[25] He called for a rediscovery of the roots of European theatre and the questioning of
comfortable conventions such as the popular drawing-room comedies of the time. His work challenged the
accepted role of women in society and explored taboo issues of homoeroticism and class. García Lorca
wrote little poetry in this last period of his life, declaring in 1936, "theatre is poetry that rises from the book
and becomes human enough to talk and shout, weep and despair."[28]

Travelling to Buenos Aires in 1933 to give lectures and direct the

Argentine premiere of Blood Wedding, García Lorca spoke of his
distilled theories on artistic creation and performance in the famous
lecture Play and Theory of the Duende. This attempted to define a
schema of artistic inspiration, arguing that great art depends upon a
vivid awareness of death, connection with a nation's soil, and an
acknowledgment of the limitations of reason.[28][29]

As well as returning to the classical roots of theatre, García Lorca

Bust of Federico García Lorca in
also turned to traditional forms in poetry. His last poetic work,
Santoña, Cantabria
Sonetos de amor oscuro (Sonnets of Dark Love, 1936), was long
thought to have been inspired by his passion for Rafael Rodríguez
Rapun, secretary of La Barraca. Documents and mementos revealed
in 2012 suggest that the actual inspiration was Juan Ramírez de Lucas, a 19-year-old with whom Lorca
hoped to emigrate to Mexico.[30] The love sonnets are inspired by the 16th-century poet San Juan de la
Cruz.[31] La Barraca's subsidy was cut in half by the rightist government elected in 1934, and its last
performance was given in April 1936.

Lorca spent summers at the Huerta de San Vicente from 1926 to 1936. Here he wrote, totally or in part,
some of his major works, among them When Five Years Pass (Así que pasen cinco años) (1931), Blood
Wedding (1932), Yerma (1934) and Diván del Tamarit (1931–1936). The poet lived in the Huerta de San
Vicente in the days just before his arrest and assassination in August 1936.[32]

Although García Lorca's drawings do not often receive attention, he was also a talented artist.[33][34]
Assassination
Political and social tensions had greatly intensified after the murder of prominent monarchist and anti-
Popular Front spokesman José Calvo Sotelo by Republican Assault Guards (Guardias de asalto).[35] García
Lorca knew that he would be suspect to the rising right-wing for his outspoken socialist views.[31] Granada
was so tumultuous that it had not had a mayor for months; no one dared accept the job. When Lorca's
brother-in-law, Manuel Fernández-Montesinos, agreed to accept the position, he was assassinated within a
week. On the same day he was shot, 18 August, Lorca was arrested.[36]

It is thought that García Lorca was shot and killed by Nationalist militia[37][38] on 19 August 1936.[39] The
author Ian Gibson in his book The Assassination of García Lorca alleges that he was shot with three others
(Joaquín Arcollas Cabezas, Francisco Galadí Melgar and Dióscoro Galindo González) at a place known as
the Fuente Grande ('Great Spring') which is on the road between Víznar and Alfacar.[40] Police reports
released by radio station Cadena SER in April 2015 conclude that Lorca was executed by fascist forces. The
Franco-era report, dated 9 July 1965, describes the writer as a "socialist" and "freemason belonging to the
Alhambra lodge," who engaged in "homosexual and abnormal practices."[41][42][43]

Significant controversy exists about the motives and details of Lorca's murder. Personal, non-political
motives have been suggested. García Lorca's biographer, Stainton, states that his killers made remarks about
his sexual orientation, suggesting that it played a role in his death.[44] Ian Gibson suggests that García
Lorca's assassination was part of a campaign of mass killings intended to eliminate supporters of the Leftist
Popular Front.[36] However, Gibson proposes that rivalry between the right-wing Spanish Confederation of
the Autonomous Right (CEDA) and the fascist Falange was a major factor in Lorca's death. Former CEDA
Parliamentary Deputy Ramón Ruiz Alonso arrested García Lorca at the Rosales's home, and was the one
responsible for the original denunciation that led to the arrest warrant being issued.

It has been argued that García Lorca was apolitical

and had many friends in both Republican and
Nationalist camps. Gibson disputes this in his Then I realized I had been murdered.
1978 book about the poet's death.[36] He cites, for They looked for me in cafes, cemeteries and
example, Mundo Obrero's published manifesto, churches
which Lorca later signed, and alleges that Lorca .... but they did not find me.
was an active supporter of the Popular Front.[45] They never found me?
Lorca read this manifesto out loud at a banquet in No. They never found me.
honour of fellow poet Rafael Alberti on 9
From "The Fable And Round of the Three
February 1936.
Friends",
Many anti-communists were sympathetic to Lorca Poet in New York (1929), García Lorca
or assisted him. In the days before his arrest he
found shelter in the house of the artist and leading
Falange member Luis Rosales. Indeed, evidence suggests that Rosales was very nearly shot as well by the
Civil Governor Valdés for helping García Lorca. Poet Gabriel Celaya wrote in his memoirs that he once
found García Lorca in the company of Falangist José Maria Aizpurua. Celaya further wrote that Lorca dined
every Friday with Falangist founder and leader José Antonio Primo de Rivera.[46] On 11 March 1937 an
article appeared in the Falangist press denouncing the murder and lionizing García Lorca; the article opened:
"The finest poet of Imperial Spain has been assassinated."[47] Jean-Louis Schonberg also put forward the
'homosexual jealousy' theory.[48] The dossier on the murder, compiled in 1936 at Franco's request and
referred to by Gibson and others without having seen it, has yet to surface. The first published account of an
attempt to locate Lorca's grave can be found in British traveller and Hispanist Gerald Brenan's book The
Face of Spain.[49] Despite early attempts such as Brenan's in 1949, the site remained undiscovered
throughout the Franco era.
Search for remains
In 2008, a Spanish judge opened an investigation into Lorca's death. The
García Lorca family dropped objections to the excavation of a potential
gravesite near Alfacar, but no human remains were found.[50][51] The
investigation was dropped. A further investigation was begun in 2016, to no
avail.[52]

In late October 2009, a team of archaeologists and historians from the

University of Granada began excavations outside Alfacar.[53] The site was
identified three decades previously by a man who claimed to have helped
dig Lorca's grave.[54][55] Lorca was thought to be buried with at least three
other men beside a winding mountain road that connects the villages of
Víznar and Alfacar.[56]

The excavations began at the request of another victim's family.[57]

The site of the excavation as
Following a long-standing objection, the Lorca family also gave their
it was in 1999
permission.[57] In October 2009 Francisco Espínola, a spokesman for the
Justice Ministry of the Andalusian regional government, said that after years
of pressure García Lorca's body would "be exhumed in a matter of weeks."[58] Lorca's relatives, who had
initially opposed an exhumation, said they might provide a DNA sample in order to identify his remains.[57]

In late November 2009, after two weeks of excavating the site, organic material believed to be human bones
was recovered. The remains were taken to the University of Granada for examination.[59] But in mid-
December 2009, doubts were raised as to whether the poet's remains would be found.[60] The dig produced
"not one bone, item of clothing or bullet shell," said Begoña Álvarez, justice minister of Andalucia. She
added, "the soil was only 40cm (16in) deep, making it too shallow for a grave."[61][62] The failed excavation
cost €70,000.[63]

In January 2012, a local historian, Miguel Caballero Pérez, author of "The last 13 hours of García
Lorca,"[64] applied for permission to excavate another area less than half a kilometre from the site, where he
believes Lorca's remains are located.[65]

Claims in 2016, by Stephen Roberts, an associate professor in Spanish literature at Nottingham University,
and others that the poet's body was buried in a well in Alfacar have not been substantiated.[66]

Censorship
Francisco Franco's Falangist regime placed a general ban on García Lorca's work, which was not rescinded
until 1953. That year, a (censored) Obras completas (Complete Works) was released. Following this, Blood
Wedding, Yerma and The House of Bernarda Alba were successfully played on the main Spanish stages.
Obras completas did not include his late heavily homoerotic Sonnets of Dark Love, written in November
1935 and shared only with close friends. They were lost until 1983/4 when they were finally published in
draft form. (No final manuscripts have ever been found.) It was only after Franco's death that García Lorca's
life and death could be openly discussed in Spain. This was due not only to political censorship, but also to
the reluctance of the García Lorca family to allow publication of unfinished poems and plays prior to the
publication of a critical edition of his works.

South African Roman Catholic poet Roy Campbell, who enthusiastically supported the Nationalists both
during and after the Civil War, later produced acclaimed translations of Lorca's work. In his poem, The
Martyrdom of F. Garcia Lorca, Campbell wrote,
 Not only did he lose his life
By shots assassinated:
But with a hammer and a knife
Was after that
– translated.[67]

Memorials
In Granada, the city of his birth, the Parque Federico García Lorca is
dedicated to his memory and includes the Huerta de San Vicente, the
Lorca family summer home, opened as a museum in 1995. The
grounds, including nearly two hectares of land, the two adjoining
houses, works of art, and the original furnishings have been
preserved.[68] There is a new statue of Lorca on the Avenida de la
Constitución in the city center, and a new cultural center bearing his
name is currently under construction and will play a major role in
preserving and disseminating his works.

The Parque Federico García Lorca, in Alfacar, is near Fuente

Grande; in 2009 excavations in it failed to locate Lorca's body. Close
to the olive tree indicated by some as marking the location of the
grave, there is a stone memorial to Federico García Lorca and all
other victims of the Civil War, 1936–39. Flowers are laid at the
memorial every year on the anniversary of his death, and a
The poem De profundis in Leiden,
commemorative event including music and readings of the poet's
Netherlands, the last of a set of 101
works is held every year in the park to mark the anniversary. On 17
Wall poems in Leiden to be painted.
August 2011, to remember the 75th anniversary of Lorca's
assassination and to celebrate his life and legacy, this event included
dance, song, poetry and dramatic readings and attracted hundreds of
spectators.

At the Barranco de Viznar, between Viznar and Alfacar, there is a memorial stone bearing the words "Lorca
eran todos, 18-8-2002" ("All were Lorca"). The Barranco de Viznar is the site of mass graves and has been
proposed as another possible location of the poet's remains.

García Lorca is honored by a statue prominently located in Madrid's Plaza de Santa Ana. Political
philosopher David Crocker reports that "the statue, at least, is still an emblem of the contested past: each
day, the Left puts a red kerchief on the neck of the statue, and someone from the Right comes later to take it
off."[69]

The Fundación Federico García Lorca, directed by Lorca's niece Laura García Lorca, sponsors the
celebration and dissemination of the writer's work and is currently building the Centro Federico García
Lorca in Madrid. The Lorca family deposited all Federico documents with the foundation, which holds them
on their behalf.[70]

In the Hotel Castelar in Buenos Aires, Argentina, where Lorca lived for six months in 1933, the room where
he lived has been kept as a shrine and contains original writings and drawings of his.

In 2014 Lorca was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San
Francisco's Castro neighborhood noting LGBTQ people who have "made significant contributions in their
fields."[71][72][73]
See also
List of unsolved murders

List of major works

Poetry collections
Impresiones y paisajes (Impressions and Landscapes 1918)
Libro de poemas (Book of Poems 1921)
Poema del cante jondo (Poem of Deep Song; written in 1921 but not published until 1931)
Suites (written between 1920 and 1923, published posthumously in 1983)
Canciones (Songs written between 1921 and 1924, published in 1927)
Romancero gitano (Gypsy Ballads 1928)
Odes (written 1928)
Poeta en Nueva York (written 1930 – published posthumously in 1940, first translation into
English as Poet in New York 1940)[74]
Llanto por Ignacio Sánchez Mejías (Lament for Ignacio Sánchez Mejías 1935)
Seis poemas gallegos (Six Galician poems 1935)
Sonetos del amor oscuro (Sonnets of Dark Love 1936, not published until 1983)
Lament for the Death of a Bullfighter and Other Poems (1937)
Primeras canciones (First Songs 1936)
The Tamarit Divan (poems written 1931–34 and not published until after his death in a special
edition of Revista Hispánica Moderna in 1940).
Selected Poems (1941)

Select translations
Poem of the Deep Song – Poema del Cante Jondo, translated by Carlos Bauer (includes
original Spanish verses). City Lights Books, 1987 ISBN 0-87286-205-4
Poem of the Deep Song, translated by Ralph Angel. Sarabande Books, 2006 ISBN 1-932511-
40-7
Gypsy Ballads: A Version of the Romancero Gitano of Federico García Lorca Translated by
Michael Hartnett. Goldsmith Press 1973
"Poet in New York-Poeta en Nueva York," translated by Pablo Medina and Mark Statman
(includes original Spanish, with a preface by Edward Hirsch), Grove Press, 2008, ISBN 978-0-
8021-4353-2; 0-8021-4353-9
Gypsy Ballads, bilingual edition translated by Jane Duran and Gloria García Lorca. Enitharmon
Press 2016
Sonnets of Dark Love - The Tamarit Divan, bilingual edition translated by Jane Duran and
Gloria García Lorca with essays by Christopher Maurer and Andrés Soria Olmedo. Enitharmon
Press 2016

Plays
Christ: A Religious Tragedy (unfinished 1917)
 The Butterfly's Evil Spell: (written 1919–20, first production 1920)
The Billy-Club Puppets: (written 1922-5, first production 1937)
The Puppet Play of Don Cristóbal: (written 1923, first production 1935)
Mariana Pineda (written 1923–25, first production 1927)
The Shoemaker's Prodigious Wife: (written 1926–30, first production 1930, revised 1933)
The Love of Don Perlimplín and Belisa in the Garden: (written 1928, first production 1933)
The Public: (written 1929–30, first production 1972); only an incomplete draft is known
When Five Years Pass: (written 1931, first production 1945)
Blood Wedding: (written 1932, first production 1933)
Yerma (written 1934, first production 1934)
Doña Rosita the Spinster: (written 1935, first production 1935)
Play Without a Title: (only one act, written 1936, first production 1986)
The House of Bernarda Alba: (written 1936, first production 1945)
Dreams of my Cousin Aurelia: (unfinished)

Short plays
El paseo de Buster Keaton (Buster Keaton goes for a stroll 1928)
La doncella, el marinero y el estudiante (The Maiden, the Sailor and the Student 1928)
Quimera (Dream 1928)

Filmscripts
Viaje a la luna (Trip to the Moon 1929)

Operas
Lola, la Comedianta (Lola, the Actress, unfinished collaboration with Manuel de Falla 1923)

Drawings and paintings

Salvador Dalí, 1925. 160x140mm. Ink and colored pencil on paper. Private collection,
Barcelona, Spain
Bust of a Dead Man, 1932. Ink and colored pencil on paper. Chicago, Illinois

List of works based on García Lorca

Poetry and novels based on Lorca

Poetry and novels based on García Lorca

Greek surrealist poet and painter Nikos Engonopoulos wrote the poem: News on the death
of Spanish poet Federico García Lorca on 19 August 1936 in the ditch of Camino de la
Fuente, a poem that juxtaposes the actual death of a poet and the symbolic death of poets
that are depreciated by their contemporaries.
Greek poet Nikos Kavvadias's poem Federico García Lorca, in Kavvadias' Marabu
collection, is dedicated to the memory of García Lorca and juxtaposes his death with war
crimes in the village of Distomo, Greece, and in Kessariani in Athens, where the Nazis
executed over two hundred people in each city.
Allen Ginsberg's poem "A Supermarket in California" makes mention to Lorca mysteriously
acting out with a watermelon.
Spanish poet Luis Cernuda, who is also part of the Generation of '27, wrote the elegy A un
poeta muerto (F.G.L.).
Hungarian poet Miklós Radnóti also wrote a poem about García Lorca in 1937 entitled
Federico García Lorca.[75]
The New York-based Spanish language poet Giannina Braschi published El imperio de los
sueños in 1988; Braschi's Empire of Dreams is a homage to Poet in New York.
Bob Kaufman and Gary Mex Glazner have both written tribute poems entitled Lorca.
Óscar Castro Zúñiga wrote Responso a García Lorca shortly after García Lorca's death.
Harold Norse has a poem, We Bumped Off Your Friend the Poet, inspired by a review of
Ian Gibson's Death of Lorca. The poem first appeared in Hotel Nirvana,[76] and more
recently in In the Hub of the Fiery Force, Collected Poems of Harold Norse 1934–2003[77]
The Spanish poet Antonio Machado wrote the poem El Crimen Fue en Granada, in
reference to García Lorca's death.
The Turkish poet Turgut Uyar wrote the poem Three Poems For Federico García Lorca
including a line in Spanish (obra completas)
The Irish poet Michael Hartnett published an English translation of García Lorca's poetry.
García Lorca is also a recurring character in much of Hartnett's poetry, most notably in the
poem A Farewell to English..
Deep image, a poetic form coined by Jerome Rothenberg and Robert Kelly, is inspired by
García Lorca's Deep Song.
Vietnamese poet Thanh Thao wrote The guitar of Lorca and was set to music by Thanh
Tung.
A Canadian poet named John Mackenzie published several poems inspired by García
Lorca in his collection Letters I Didn't Write, including one titled Lorca's Lament.
In 1945, Greek poet Odysseas Elytis (Nobel Prize for Literature, 1979) translated and
published part of García Lorca's Romancero Gitano.
Pablo Neruda wrote Ode to Federico García Lorca (1935) and Eulogy For Federico García
Lorca.
Robert Creeley wrote a poem called "After Lorca" (1952)
Jack Spicer wrote a book of poems called After Lorca (1957).
The Russian poet Yevgeni Yevtushenko wrote the poem "When they murdered Lorca"
("Когда убили Лорку") in which he portrays Lorca as being akin to Don Quixote—an
immortal symbol of one's devotion to his ideals and perpetual struggle for them.
Nicole Krauss includes a reference to Lorca in her novel Great House (2010): "It was then
that he told me the desk had been used, briefly, by Lorca." (p. 11) The desk is the central
metaphor for memory and the burden of inheritance, used throughout the novel. Also see
page 13. Krauss also refers to Neruda the poet.
British poet John Siddique wrote "Desire for Sight (After Lorca)" included in Poems from a
Northern Soul[78]
Bengali poet Sunil Ganguly wrote a poem "Kobir Mirtyu-Lorca Smarane" (The death of a
Poet- In the memory of Lorca)
Erie, Pennsylvania poet Sean Thomas Dougherty published a book of poems titled
Nightshift Belonging to Lorca.[79]
 Scott Ruescher, author of Sidewalk Tectonics, a 2009 chapbook from Pudding House
Publications, won the 2013 Erika Mumford Prize (for poetry about travel and international
culture) from the New England Poetry Club for his five-part poem, "Looking for Lorca."
American-born poet Edwin Rolfe's 1948 Spanish Civil War poem ″A Federico García Lorca
″ characterizes Lorca as having ″recognized your [his] assassins,″ whom Rolfe derides as
″The men with the patent-leather hats and souls of patent-leather.″[80]
The Spanglish novel Yo-Yo Boing! by Giannina Braschi features a dinner party debate
among Latin American poets and artists about Lorca's genius compared to other Spanish
language poets.

Comics based on Lorca

Comics based on García Lorca

Dutch comics artist Tobias Tak visualized 20 poems by Lorca in his graphic novel
Canciones (Scratch Books, 2017). The work has art direction by Joost Swarte and a
foreword by Lorca translator Christopher Maurer from the Boston University.[81]

Musical works based on Lorca

Musical works based on García Lorca

Francis Poulenc composed in 1942/43 his Violin Sonata in memory of Lorca.
Greek composer Stavros Xarchacos wrote a large piece, a symphonic poem, a lament,
with a complete Llanto por Ignatio Sanchez Mejias, by Lorca. Musical idiom of the piece is
very true to Spain.
Spanish flamenco singer Camarón de la Isla's album La leyenda del tiempo contains lyrics
written by or based on works by Lorca and much of the album is about his legacy.
Mexican composer Silvestre Revueltas composed Homenaje a Federico García Lorca (a
three- movement work for chamber orchestra) shortly after García Lorca's death,
performing the work in Spain during 1937.[82]
The Italian-American composer Mario Castelnuovo-Tedesco wrote Romencero Gitano for
Mixed Choir and Guitar, Op. 152 based on poems from Poema del Cante Jondo.
The Italian avant-garde composer Luigi Nono wrote a triptych of compositions in 1951–53
collectively titled Tre epitaffi per Federico García Lorca (España en el corazón, Y su
sangre ya viene cantando, and Memento: romance de la guardia civil española), and in
1954 composed a three-act ballet titled Il mantello rosso with an argument taken from
García Lorca.
Chilean composer Ariel Arancibia composed in 1968 Responso a García Lorca based on a
poem wrote by Óscar Castro Zúñiga shortly after García-Lorca's death. Responso a
García Lorca was included in the LP "Homenaje a Óscar Castro Zúñiga" recorded by Los
Cuatro de Chile and Hector and Humberto Duvauchelle.
The American composer George Crumb utilizes much of García Lorca's poetry in works
such as his Ancient Voices of Children, his four books of Madrigals, and parts of his
Makrokosmos. His four books of "Madrigals," for soprano and various instruments
including: piccolo, flute, alto flute, harp, vibraphone, percussion, and contrabass, utilizes
for its text twelve short segments of Lorca's poetry.
Composer Osvaldo Golijov and playwright David Henry Hwang wrote the one-act opera
Ainadamar ("Fountain of Tears") about the death of García Lorca, recalled years later by
his friend the actress Margarita Xirgu, who could not save him. It opened in 2003, with a
revised version in 2005. A recording of the work released in 2006 on the Deutsche
Grammophon label (Catalog #642902) won the 2007 Grammy awards for Best Classical
Contemporary Composition and Best Opera Recording.
Finnish modernist composer Einojuhani Rautavaara has composed Suite de Lorca
("Lorca-sarja") and Canción de nuestro tiempo ("Song of our time") for a mixed choir to the
lyrics of García Lorca's various poems (1972 and 1993).
The Pogues dramatically retell the story of his murder in the song 'Lorca's Novena' on their
Hell's Ditch album.
Indonesian composer Ananda Sukarlan wrote two of his "Four Spanish Songs" based on
the poems "Oda a Salvador Dali" and "Las Seis Cuerdas", premiered by soprano Mariska
Setiawan in 2016 accompanied on the piano by the composer.
Composer Dave Soldier adapted multiple Lorca poems to country blues songs in idiomatic
English in the Kropotkins' CD, Portents of Love album, which features a hand drawing of
Lorca's face on the cover.
Reginald Smith Brindle composed the guitar piece "Four Poems of Garcia Lorca" (1975)
and "El Polifemo de Oro" (for guitar, 1982) based on two Lorca poems Adivinanza de la
Guitarra and Las Seis Cuerdas[83]
Composer Dmitri Shostakovich wrote the first two movements of his 14th Symphony
based around García Lorca poems.
French composer Francis Poulenc dedicated his Violin Sonata (1943) to Lorca's memory,
and quoted (in French) the first line of his poem ‘Las Seis Cuerdas’ (The Six Strings) -
"The guitar makes dreams weep" - at the head of the second movement. He composed his
Trois chansons de F Garcia Lorca in 1947.
The French composer Maurice Ohana set to music García Lorca's poem Lament for the
death of a Bullfighter (Llanto por Ignacio Sánchez Mejías), recorded by the conductor
Ataúlfo Argenta in the 1950s
Spanish rock band Marea made a rock version of the poem "Romance de la Guardia Civil
española", named "Ciudad de los Gitanos".
Wilhelm Killmayer set five of his poems in his song cycle Romanzen in 1954.[84]
In 1959–1960 Austrian-Hungarian composer Iván Erőd composed La doncella, el marinero
y el estudiante, a short opera of 15 minutes based almost exclusively on serial techniques,
premiered in May 1960 in Innsbruck
In 1964 Sándor Szokolay adapted Lorca's play Blood Wedding into an opera, Vérnász,
first produced in Budapest.
Wolfgang Fortner also wrote an operatic adaptation of Blood Wedding using a German
translation by Enrique Beck, Die Bluthochzeit (1957).
In 1968, Joan Baez sang translated renditions of García Lorca's poems, "Gacela of the
Dark Death" and "Casida of the Lament" on her spoken-word poetry album, Baptism: A
Journey Through Our Time.
American experimental folk-jazz musician Tim Buckley released an album called Lorca
which included a song of the same name.
In 1986, CBS Records released the tribute album Poetas En Nueva York (Poets in New
York), including performances by Leonard Cohen, Paco de Lucía.[85]
In 1986 Leonard Cohen's English translation of the poem Pequeño vals vienés by García
Lorca reached No. 1 in the Spanish single charts (as Take This Waltz, music by Cohen).
Cohen has described García Lorca as being his idol in his youth, and named his daughter
Lorca Cohen for that reason.[86]
Missa Lorca by Italian composer Corrado Margutti (2008) is a choral setting of the Latin
Mass text and the poetry of Lorca. U.S. premiere, 2010.
In 1967, composer Mikis Theodorakis set to music seven poems of the Romancero Gitano
– translated into Greek by Odysseas Elytis in 1945. This work was premiered in Rome in
1970 under the same title. In 1981, under commission of the Komische Oper Berlin, the
composition was orchestrated as a symphonic work entitled Lorca. In the mid-1990s,
Theodorakis rearranged the work as an instrumental piece for guitar and symphony
orchestra.[87][88][89]
In 1986, Turkish composer Zülfü Livaneli composed the song Atlı in the album Zor Yıllar,
using a Turkish translation of Lorca's Canción del Jinete by Melih Cevdet Anday and
Sabahattin Eyüboğlu.
In 1989, American composer Stephen Edward Dick created new music for Lorca's ballad
"Romance Sonambulo", based on the original text, and with permission from Lorca's
estate. The piece is set for solo guitar, baritone and flamenco dance, and was performed
in 1990 at the New Performance Gallery in San Francisco. The second performance took
place in Canoga Park, Los Angeles in 2004.
1n 1998, on the 100th anniversary of his birth, pianist Ben Sidran performed The Concert
for García Lorca at García Lorca's home, Huerta de San Vicente, on his piano.
American composer Geoffrey Gordon composed Lorca Musica per cello solo (2000),
utilizing themes from his 1995 three-act ballet The House of Bernarda Alba (1995), for
American cellist Elizabeth Morrow.[90] The work was recorded on Morrow's Soliloquy CD
on the Centaur label and was featured at the 2000 World Cello Congress. Three suites
from the ballet, for chamber orchestra, have also been extracted from the ballet score by
the composer.
Lorca was referenced in the song "Spanish Bombs" by English punk rock band The Clash
on their 1979 album, London Calling.
The Spanish guitarist José María Gallardo Del Rey composed his 'Lorca Suite' in 2003 as
a tribute to the poet. Taking Lorca's folksong compilations Canciones Españolas Antiguas
as his starting point, José María Gallardo Del Rey adds the colour and passion of his
native Andalucia, incorporating new harmonisations and freely composed link passages
that fuse classical and flamenco techniques.
Catalán composer Joan Albert Amargós wrote Homenatje a Lorca for alto saxophone in
piano. Its three movements are based on three Lorca poems: "Los cuatro muleros,
Zorongo, and Anda jaleo".
Composer Brent Parker wrote Lorca's Last Walk for piano solo. This was on the Grade 7
syllabus of the Royal Irish Academy of Music's piano exams, 2003–2008.
Greek musician Thanasis Papakonstantinou composed Άυπνη Πόλη with part of Lorca's
"Poeta en Nueva York", translated to Greek by Maria Efstathiadi.
Catalán composer Joan Albert Amargós wrote Homenatje a Lorca for alto saxophone in
piano. Its three movements are based on three Lorca poems: "Los cuatro muleros,
Zorongo, and Anda jaleo".
Argentine composer Roberto García Morillo composed Cantata No. 11 (Homenaje a
García Lorca), 1988–89.
In 2000 a Greek rock group Onar composed a song based on Lorca's poem " La balada
del agua del mar". Teresa Salgueiro from a Portuguese musical ensemble called
Madredeus participates reading the poem during the song.
British composer Simon Holt has set Lorca's words to music in Ballad of the Black Sorrow,
for five solo singers and instrumental ensemble, and Canciones, for mezzo-soprano and
instrumental ensemble. His opera The Nightingale's to Blame is based on Lorca's Amor de
don Perlimplín con Belisa en su jardín.

Theatre, film and television based on Lorca

 Theatre, film and television based on García Lorca
Federico García Lorca: A Murder in Granada (1976) directed by Humberto López y Guerra
and produced by the Swedish Television. In October 1980 the New York Times described
the transmission of the film by Spanish Television in June that same year as attracting
"one of the largest audiences in the history of Spanish Television".[91]
Playwright Nilo Cruz wrote the surrealistic drama Lorca in a Green Dress about the life,
death, and imagined afterlife of García Lorca. The play was first performed in 2003 at the
Oregon Shakespeare Festival. The Cruz play Beauty of the Father (2010) also features
Lorca's ghost as a key character.[92]
British playwright Peter Straughan wrote a play (later adapted as a radio play) based on
García Lorca's life, The Ghost of Federico Garcia Lorca Which Can Also Be Used as a
Table.
TVE broadcast a six-hour mini-series based on key episodes on García Lorca's life in
1987. British actor Nickolas Grace played the poet, although he was dubbed by a Spanish
actor.
There is a 1997 film called The Disappearance of Garcia Lorca, also known as Death in
Granada, based on a biography by Ian Gibson. The film earned an Imagen Award for best
film.
Miguel Hermoso's La luz prodigiosa (The End of a Mystery) is a Spanish film based on
Fernando Macías' novel with the same name, which examines what might have happened
if García Lorca had survived his execution at the outset of the Spanish Civil War.
British Screenwriter Philippa Goslett was inspired by García Lorca's close friendship with
Salvador Dalí. The resulting biographical film Little Ashes (2009) depicts the relationship in
the 1920s and 1930s between García Lorca, Dalí, and Luis Buñuel.[93]
American playwright Michael Bradford drama, Olives and Blood, produced by
Neighborhood Productions at The HERE Art Center/Theatre, June 2012, focuses on the
present day trouble one of the supposed murderers of Lorca.
Blood Wedding is the first part of a ballet / flamenco film trilogy directed by Carlos Saura
and starring Antonio Gades and Cristina Hoyos (1981).
In a segment of the 2001 animated avant-garde film Waking Life, Timothy Levitch
extemporizes on Lorca's poem Sleepless City (Brooklyn Bridge Nocturne).

Notes
a. According to Spanish naming customs, a person usually uses their father's surname as their
main surname. As García is a very widely used name, García Lorca is often referred to by his
mother's less-common surname, Lorca. See, for example, "Translating Lorca" (http://www.new
statesman.com/theatre/2008/11/lorca-play-johnston-stage). New Statesman (UK). 10
November 2008. (A typical example of an article in English where is used "Lorca" in the
headline and in most of the text, and "Federico García Lorca" is also stated in full.) Spanish
conventions require his name to be listed under "G".
b. For more in-depth information about the Lorca-Dalí connection see Lorca-Dalí: el amor que no
pudo ser and The Shameful Life of Salvador Dalí, both by Ian Gibson.

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Sources
Cao, Antonio (1984). García Lorca y las Vanguardias. London: Tamesis. ISBN 0-729-30202-4.
Gibson, Ian (1989). Federico García Lorca. London: Faber & Faber. ISBN 0-571-14224-9.
OCLC 21600658 (https://www.worldcat.org/oclc/21600658).
Stainton, Leslie (1999). Lorca: A Dream of Life. London: Farrar Straus & Giroux. ISBN 0-374-
19097-6. OCLC 246338520 (https://www.worldcat.org/oclc/246338520).
Sebastian Doggart & Michael Thompson (eds) (1999). Fire, Blood and the Alphabet: One
Hundred Years of Lorca. Durham: University of Durham. ISBN 0-907310-44-3.
OCLC 43821099 (https://www.worldcat.org/oclc/43821099).
Mario Hernandez Translated by Christopher Maurer (1991). Line of Light and Shadow: The
Drawings of Federico García Lorca. Duke University Press. ISBN 0-8223-1122-4.
Maurer, Christopher (2001) Federico García Lorca:Selected Poems Penguin

Further reading
Auclair, Marcelle (1968). Enfances et mort de Garcia Lorca (in French). Paris, France: Éditions
du Seuil. OCLC 598851 (https://www.worldcat.org/oclc/598851). (477 pages)

Spanish translation: Auclair, Marcelle; García Lorca, Federico; Alberti, Aitana

(trans.) (1972). Vida y Muerte de García Lorca (in Spanish). Mexico City: Ediciones
Era. OCLC 889360 (https://www.worldcat.org/oclc/889360). (411 pages). Includes
excerpts from García Lorca's works.

Cao, Antonio (1984). García Lorca y las Vanguardias. London: Tamesis. ISBN 0-729-30202-4.
Mayhew, Jonathan. (2009). Apocryphal Lorca: Translation, Parody, Kitsch. University of
Chicago Press. ISBN 978-0-226-51203-7.
Eisenberg, Daniel (1990). "Unanswered Questions about Lorca' Death" (https://web.archive.or
g/web/20180327025211/http://users.ipfw.edu/jehle/deisenbe/Lorca/Unanswered_Questions_a
bout_Lorca's_Death.htm). Angélica. 1. pp. 93–107. Archived from the original (http://users.ipf
w.edu/jehle/deisenbe/Lorca/Unanswered_Questions_about_Lorca's_Death.htm) on 27 March
2018.

External links
The Lorca Foundation (https://web.archive.org/web/20090106130748/http://garcia-lorca.org/)
 Huerta De San Vicente, Grandada (http://www.huertadesanvicente.com/)—The Lorca Family
home now a museum
"Lorca censored to hide sexuality" (https://www.independent.co.uk/arts-entertainment/theatre-d
ance/news/lorca-was-censored-to-hide-his-sexuality-biographer-reveals-1644906.html)—
article by The Independent, 14 March 2009
LGB biography of García Lorca (https://web.archive.org/web/20120205223558/http://www.glbt
q.com/literature/garcialorca_f.html)
Works by or about Federico García Lorca (https://archive.org/search.php?query=%28%28subj
ect%3A%22Lorca%2C%20Federico%20García%22%20OR%20subject%3A%22Lorca%2C%2
0Federico%20G%2E%22%20OR%20subject%3A%22Lorca%2C%20F%2E%20G%2E%22%2
0OR%20subject%3A%22Federico%20García%20Lorca%22%20OR%20subject%3A%22Fede
rico%20G%2E%20Lorca%22%20OR%20subject%3A%22F%2E%20G%2E%20Lorca%22%20
OR%20subject%3A%22Lorca%2C%20Federico%22%20OR%20subject%3A%22Federico%2
0Lorca%22%20OR%20creator%3A%22Federico%20García%20Lorca%22%20OR%20creato
r%3A%22Federico%20G%2E%20Lorca%22%20OR%20creator%3A%22F%2E%20G%2E%2
0Lorca%22%20OR%20creator%3A%22F%2E%20García%20Lorca%22%20OR%20creator%
3A%22Lorca%2C%20Federico%20García%22%20OR%20creator%3A%22Lorca%2C%20Fed
erico%20G%2E%22%20OR%20creator%3A%22Lorca%2C%20F%2E%20G%2E%22%20O
R%20creator%3A%22Lorca%2C%20F%2E%20García%22%20OR%20creator%3A%22Federi
co%20Lorca%22%20OR%20creator%3A%22Lorca%2C%20Federico%22%20OR%20title%3
A%22Federico%20García%20Lorca%22%20OR%20title%3A%22Federico%20G%2E%20Lor
ca%22%20OR%20title%3A%22F%2E%20G%2E%20Lorca%22%20OR%20title%3A%22Fede
rico%20Lorca%22%20OR%20description%3A%22Federico%20García%20Lorca%22%20O
R%20description%3A%22Federico%20G%2E%20Lorca%22%20OR%20description%3A%22
F%2E%20G%2E%20Lorca%22%20OR%20description%3A%22Lorca%2C%20Federico%20G
arcía%22%20OR%20description%3A%22Lorca%2C%20Federico%20G%2E%22%20OR%20
description%3A%22Federico%20Lorca%22%20OR%20description%3A%22Lorca%2C%20Fe
derico%22%20OR%20%28Federico%20Lorca%29%29%20OR%20%28%221898-1936%22%
20AND%20Lorca%29%29%20AND%20%28-mediatype:software%29) at Internet Archive
Works by Federico García Lorca (https://librivox.org/author/2937) at LibriVox (public domain
audiobooks)
Federico Garcia Lorca Poems (https://mir-es.com/ne.php?g=lorca)
"Lorca and Censorship: The Gay Artist Made Heterosexual" (https://web.archive.org/web/2013
0622033800/http://users.ipfw.edu/jehle/deisenbe/Lorca/Lorca_and_censorship__The_Gay_Arti
st_Made_Heterosexual.htm)—essay by Eisenberg, D.; Florida State University
Federico García Lorca was killed on official orders, say 1960s police files (https://www.theguar
dian.com/culture/2015/apr/23/federico-garcia-lorca-spanish-poet-killed-orders-spanish-civil-wa
r)—The Guardian
A film of Lorca's poetry read at a Lorca Festival in Stroud, England (http://damnable-iron.com/l
orca_jeff_cloves.html)

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