Bodas de sangre

Bodas de sangre☃ [PDF / Epub] ☂ Bodas de sangre By Federico García Lorca ✑ – Bluevapours.co.uk El tema de esta obra surgio a raiz de una noticia aparecida en prensa: dos amantes se fugan en la vispera de la boda de la mujer con otro hombre Garia Lorca convierte la realidad en poesia En su obra El tema de esta obra surgio a raiz de una noticia aparecida en prensa: dos amantes se fugan en la vispera de la boda de la mujer con otro hombre Garia Lorca convierte la realidad en poesia En su obra hay ansias de libertad, andalucismo, simbolismo y muerte, pero por encima de todo, poesia dramatica Bodas de sangre es, pues, una obra teatral donde las desgarradas pasiones de sus protagonistas se desatan ante la Bodas de PDF/EPUB or atenta mirada de la luna, personificacion hermosa y terrible de la muerte.

Born in Fuente Vaqueros, Granada, Spain, June ; died near Granada, August , García Lorca is one of Spain's most deeply appreciated and highly revered poets and dramatists His murder by the Nationalists at the start of the Spanish civil war brought sudden international fame, accompanied by an excess of political rhetoric which led a later generation to question his merits; after the i.

Bodas de sangre PDF/EPUB » Bodas de  PDF/EPUB or
  • Paperback
  • 176 pages
  • Bodas de sangre
  • Federico García Lorca
  • Spanish
  • 28 May 2019
  • 9788437605609

10 thoughts on “Bodas de sangre

  1. Federico DN says:

    A groom, a bride, an ex-lover, a wedding drenched in blood.

    One of those yellowed books found in the dusty family library. A theatre play, a fresh of air after so many novels. An extremely short reading. a few hours at most. Interesting to change genres. Readable. I enjoyed Neruda's poetry but not Lorca's; however I can see someone who likes the genre enjoying this very much. Sadly, not my case.

    Until next time,

    -----------------------------------------------

    Un novio, una prometida, un ex-amante, una boda bañada en sangre.

    Uno de esos libros amarillentos que uno encuentra en la polvorienta biblioteca familiar. Una obra teatral, una respiro de aire refrescante después de tantas novelas. Una lectura muy corta, de un par de horas a lo sumo. Interesante para variar géneros. Leíble. Disfruté la poesía de Neruda pero no la de Lorca; sin embargo puedo ver que alguien que le guste este género pueda disfrarlo mucho. Lamentablemente, no fue mi caso.

    Hasta la próxima,

  2. Ahmad Sharabiani says:

    Bodas de sangre = Blood Wedding, Federico García Lorca
    Blood Wedding is a tragedy by Spanish dramatist Federico García Lorca. It was written in 1932 and first performed in Madrid in March 1933 and later that year in Buenos Aires. Theater critics often group it with Yerma and The House of Bernarda Alba as the Rural Trilogy. Lorca's plan for a trilogy of the Spanish earth remained unfinished at the time of his death (he did not include The House of Bernarda Alba in it).

    تاریخ نخیتین خوانش: روز نهم ماه مارس سال 1977 میلادی

    عنوان: عروسی خون: نمایشنامه در سه پرده، و هفت تابلو؛ نویسنده: فدریکو گارسیا لورکا؛ مترجم: احمد شاملو؛ مشخصات نشر: تهران، روزن، 1347، در 165 ص، مصور؛ موضوع: نمایشنامه های نویسندگان اسپانیایی - سده 20 م

    عنوان: عروسی خون؛ نویسنده: فدریکو گارسیا لورکا؛ مترجم: فانوس بهادروند؛ اصفهان، نشر فردا، 1377؛ در هشت و 95 ص؛ شابک: 9646328016؛ چاپ دوم 1378؛ چاپ دیگر: تهران، مینا، شبگیر، 1382؛ در 89 ص؛ شابک: 9646475698؛ چاپ دوم 1384؛

    عنوان: عروسی خون؛ نویسنده: فدریکو گارسیا لورکا؛ مترجم: طاهره زمانی‌بهابادی؛ تهران، انتشاررات روزگار، 1397؛ در 94 ص؛ شابک: 9789643748456؛

    نمایشنامه‌ ای تراژیک، اثر: «فدریکو گارسیا لورکا»، نویسنده ی «اسپانیایی‌» ست. این نمایشنامه یکی از آثار ادبی برجسته ی جهان است. آغاز نقل از پشت جلد کتاب: (تئاتر لورکا را باید دنباله ی چیزهایی به حساب آورد، که در کتابهای شعر ایشان روایت شده است: پرده های متحرکِ وسیع، آگراندیسمان عکسهایی رنگین، که در جوانی با سالوادور دالی برداشته بود. اینها نقاشیهایی بود، که طرحهایی از آنها را، در پاره ای از حکایات گفتگوهای خویش، و در رمانسهای تاریخی خود، آورده بودند، و در آنها همه ی نهاد شاعرانه ی لورکا، با احساس بسیار شدید الزامات صحنه در هم میآمیخت. آثار نمایشی لورکا درامهایی سخت واقع بینانه هستند، که در همه ی آنها همه ی آنچه ارزش شعری لورکا برآورد میکند، ملحوظ شده است.) پایان نقل از پشت جلد کتاب . ا. شربیانی

  3. James says:

    Book Review
    4 out of 5 stars to Bodas de sangre, written in 1933 by Federico García Lorca. I read this book during a Spanish literature course, as part of my English degree and minor in Spanish. I really enjoyed reading the novel in Spanish, but not being a native speaker, I lost a little bit of the story. I read an English translation and compared my notes from one to other, quickly realizing how much I did understand but also lost. I've seen two adaptions in film, but there are several. It's a fantastic story that speaks many volumes across a variety of themes: conflict between generations in a family, men versus women, being alone or separated from others and blame versus nurturing. With the beauty of the Spanish culture and history, the story lifts off the pages, but the characters have such strength and depth. There is great emotion behind his writing and it clearly shows with the massive intensity of the actions that happen throughout the story. It's worth a read if you have any familiar background with Spanish literature and the language. If not, the English translation works, but might be easier to watch a film version as the translations are usually a tad bit easier to understand.

    About Me
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  4. Amalia Gavea says:

      “White swan in the river,
    the eye of cathedrals,
    false dawn in the leaves,
    am I. They cannot hide!
    Who can escape?
    Who sobs in the valley’s tangle?
    The moon leaves a knife behind in the air,
    a lead-coloured trap that seeks blood’s cry.
    Let me in! I come frozen through walls and windows!
    Open roofs and breasts where I can be warmed!
    I’m chilled!
    My ashes of somnolent metals
    seek the crown of the fire among streets and mountains.
    But I bring the snow to their shoulders of jasper,
    and I flood, cold and harsh, the depths of the lakes.
    But this night my cheeks will be stained
    with red blood and the reeds clustered in wide swathes of air.
    I have no shadow, nowhere they can hide!
    Let me enter a breast where I can be warmed!
    A heart of my own! Burning!
    Spilling itself on the hills of my breast;
    Let me come in! Oh, let me! (To the branches)
    No shadow. My rays must shine everywhere,
    and in dark of the trees spread a rumour of dawn,
    so my cheeks this night will be stained with red blood,
    and the reeds clustered in wide swathes of air.
    Who’s that hiding! Speak out!
    No! There’s no escape!
    I’ll make the horse gleam
    with a fever of diamond’’

     ‘’The moon is gone,
    and they are near by.
    They’ll not leave here.
    The sound of the river
    will drown in the sound of the trees
    the broken flight of their cries.
    It must be here, and soon.
    I am weary. The chests, and the white sheets ache
    await on the empty bedroom floors
    the heavy corpses with slashed throats.
    Not a bird will stir and the breeze,
    will sweep the sound of their cries
    away with her through the black trees,
    or bury them deep in gleaming mud. The moon! The moon! (Impatiently)
    The moon! The moon!’’

    The immortal masterpiece of feverish passion, undying love, treachery, violence, and the sins of the past that can never be redeemed. The greatest sin? Denying ourselves, dreading the power of our deepest feelings.

    Federico Garcia Lorca knew human nature like no other, his plays need no introduction. And those of us who have loved against all odds experience his fiery words to the very depths of our souls.
    _____________________________
    Μνημειωδης η μετάφραση του μεγάλου Νίκου Γκάτσου, θρυλικό το έργο του αθάνατου Μάνου Χατζιδάκι.

     “Να μη μιλάς και να καίγεσαι, μεγαλύτερη κόλαση δεν υπάρχει. Και τι κέρδισα εγώ με την περηφάνια μου, που σ’απαρατησα ν’ αγρυπνας νύχτες ολακερες, χωρίς να σε βλέπω; Τίποτα. Κέρδισα μόνο τη φωτιά που φούντωσε μεγαλύτερη μέσα μου. Εσύ θαρρείς πως ο καιρός μπορεί να γιάνει και τα ντουβάρια να κρύψουν πίσω τους τον καημό, μα είναι ψέματα, ψέματα! Σα φτάσει το μαχαίρι στο κόκκαλο, κανείς δε μπορεί να το βγάλει!”

     “Πουλιά της χαραυγής ξυπνήσαν και φτερουγιζουνε στα δέντρα. Η νύχτα αργοπεθαίνει τώρα πάνου στου λιθαριού την κόψη. Πάμε να βρούμε μια γωνιά όπου θα σ' αγαπώ για πάντα, και δε με νοιάζουν οι άνθρωποι με το φαρμάκι που χύνουν.”

  5. Michael says:

    Haunting and stark, Bodas de sangre charts the turbulent course of an ill-fated pastoral wedding, sunk by the unplanned showing up of the bride’s ex on the morning of the ceremony. In so few scenes so much’s expressed—about wealth, toxic masculinity, sexual repression, and more. The work’s easily the best of Lorca’s rural plays, and well worth checking out.

  6. Mariel says:

    The things people seem to know. Her husband in the ground and killers throw dirt on her sleep. A mother-in-law to be. She wishes he had been a girl, if sons had followed. I hear her voice always with a foot in the life she ought to have had. Please, I'm a mother howl. To stay home and restlessness prowls the earth. His face blank until call of duty. I would hope an actor would give only half listening gestures to lean on. The future has already happened and nothing is good enough. I could see her asking everyone what they know, everyone offering. They know nothing with their own mother or neighbor whines. She would go from head to head and knock on their skulls to hear the rattle of everyone is supposed to be inside. I had this same feeling reading Lorca's Yerma of these dust bowl streets. Everyone will be looking from behind curtains to be sure of everyone kept. It felt like a prison of neighbors eyes watching and everybody knows. Yerma felt that way to me too. From person to person a frogs chorus of throwing themselves on siren's calling rocks. Ugly croaking of knowing everything about everyone else and that is nothing.

    And everyone knows that she had once been engaged. Not her but her beautiful mother apart and door closed. Was she a girl behind her skirts, her inheritance. I judged her from how she spoke to her maid. Let the old lady look at the wedding gifts. Why not? Does everyone have to be under someone else. I wish I could enter stories and make things change spontaneously. She wishes she was a man for she did the work of a man. Her father has the same voice of everything has already happened. You must wait for everything that has already happened to happen voice. A man like that must have been hard to live with. Yet I judged her for yelling at the maid as if she were the audience member in the play and not who had to have been the one person in her life she saw up close. I don't wonder too much about people like that. The kinds of people who perform in roles of daughter or wife or mistress. The bride was the most like a person to herself to me when she runs away. Not the young woman who had once been engaged to Leonardo, now, but the decision to do anything, to lay out burned. I would think the actress playing the Bride would have to bend towards Leonardo and still never get closer. She would have to look as if she cannot bear to be touched by anyone. It isn't when they were in love any more. I don't wonder too much about their relationship of longing horny looks. I wonder that they never even got it on. He married another woman and now she must marry this other man. But she cannot do this one ought to do and and and.

    I don't know what people know. If the community blackness is lifted wherever there is a mine. Leonardo's wife had had this world of her own of their child, her mother, their house. I knew what they knew in the time between how they spoke to each other. Her mother would say her daughter's words. They watched out the window together, heard his horse's hooves and tried to follow him on their path together. The mother of the bridegroom only knows where her family is buried. I don't know this. There must be some thing that touches a life spark of mine and I don't understand how it goes black beyond the four letters. But Lorca's words were the breath between each of them and where it dies, if that makes sense. I knew when they paused for the next person to speak that they lived in what everyone else knew. When Leonardo's wife is with her mother she waits for her husband and they talk together as if they could make it come true. When he is home and she is afraid of his wife it is a different pattern. A ducked head to him, maybe she is going to lean towards her son as he gets older. Maybe his gestures will be unreliable and planned. The best part about Blood Wedding for me is the rhythm between speeches. The oppression, and how they relied on each other, was felt more than where they were going to end up. Everybody had all of these plans, anyway. It didn't happen the way they thought it was going to. But when they speak it feels as if they had the prophetic power. They did it, you did it, and now no one is to blame. I liked all of the parts about the horse too. Lorca wrote about the moon and the outside forces and yet the tide I felt pulling them was that of togetherness. Maybe the moon and the horse wanted nothing of it.

    I suspect the translation wasn't the best (my Poet in New York copy is bilingual. I am not proud that I mostly read the translation anyway. My language skills are nothing to write home about). My copy isn't the Ted Hughes one. I couldn't find mine on the goodreads search, though. Librarything users say the Hughes wasn't good. I can't speak for this.

  7. Paquita Maria Sanchez says:

    I'm sad this was my first experience with Lorca, but also hopeful. I have set a low bar for my future reading, and look forward to being pleasantly surprised by his poetry, maybe?

  8. Roy Lotz says:

    Bodas de Sangre, or Blood Weddings, is an odd combination of the ancient and the modern. The story could not be more elemental: the conflict of love and duty, the tragedy of death. And yet the style is pure Lorca—symbolic, surrealistic, modern. The play is effective, not for any subtlety or refinement, but for the sheer amount of force that Lorca brings to bear on the main themes. The characters are nameless archetypes, whose speech is poetic passion. Lorca’s use of naturalistic imagery in his poetry—animals, trees, rivers, the moon—reinforces the primeval quality of the story, as if tragedy were a law of the universe. I am excited to read the other two plays of Lorca’s so-called rural trilogy.

  9. Erin says:

    Actual rating: 2.5/5 stars... I had to read this book for college and to be honest I didn't really enjoy it. I don't know if it's that it confused me or that the long passages of poetic speech were dull but I definitely wouldn't have chose to read it of my own free will.

  10. Shana says:

    I didn't actually read the play. I listened to a radio broadcast of the play from the BBC (1986). The story is quite simple, but that's the beauty of it. It'a a classic story. A story of forbidden love. I'm definately going to make sure I read/see/listen to the next two parts of the trilogy. While the language is quite 'heavy' some parts, that's what turns it into, in some ways, a Greek Tragedy. (Also, the story is a story the Greek would have come up with.)

    To burn with desire and keep quiet about it is the greatest punishment we can bring on ourselves. I have no problem believing that.

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