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Archive for the ‘Lorca’ Category

If you’re tackling a classical text, don’t worry too much about sticking to the original structure, unless your aim is to present the play to an audience in its original form.

Play with the text, divide it between people, see what that does to the piece. Maybe it doesn’t work: why? Ask yourself why: why is the that piece of text so attached to the character, what does it tell us about her/him?

Sometimes it might work, showing two separate sides of the character very clearly, and this might be an interesting choice to place in front of an audience.

You also have the less specific bits of texts like Chorus pieces or Prologues.

The prologue in García Lorca’s The Butterfly’s Evil Spell can easily be split between actors to introduce to the audience the concept of Ensemble. As I’m working on this translation at the moment, here it is, the prologue to this beautiful play, split up for a couple of you to try out. Play with it: do you prefer to just stand and say the lines? Can you pick up where the other left off easily? Does each person (here represented by just a number) have a different character? What does the text tell you? And what happens if it’s just spoken by one person? Does it work better? Is it just different? Have a play, enjoy!

Prologue to The Butterfly’s Evil Spell by Federico García Lorca

(Note that the original is spoken just by one person.)

1: Ladies and Gentlemen:

 2: The comedy you’re about to watch is both humble and disturbing.

 3: A broken comedy about he who, trying to scratch the moon, ended up scratching his own heart.

 1: Love, just as it travels with its mockeries and its failures down Man’s life, travels in this occasion to a hidden prairie populated with insects where life had been peaceful for a long time.

 4: The insects were happy,

 2: Their only worries were drinking dewdrops in peace and educating their children in the holy terrors of their gods.

 4: They loved each other out of habit.

 1: Love passed on from parent to child like an old and exquisite jewel that was received by the first insect from the hands of God.

 3: With the same peace and confidence that the pollen of a flower gives itself to the wind, they enjoyed love under the humid, fresh grass.

 2: But one day…. one of the insects tried to fly beyond love. He fell in love with a form that was way beyond his life… maybe he’d read, with some difficulty, the verses of a book left behind by one of the few poets who walk round the countryside, and was poisoned by “I love you, impossible woman.”

 1: That’s why I beg you all not to leave behind in the prairies your poetry books, because you too might be the cause of sorrow in other insects.

 3: The poetry which asks why the stars travel through space is hurtful to unopened souls.

 2: It seems useless to tell you that the poor little bug died.

 4: Death sometimes dresses up as love.

 1: Many are the times that the skeleton with the scythe we see portrayed in the prayer books takes the shape of a woman to fool us as she opens the door of her shadow.

 4: Cupid sleeps many times in the deep crevices of Death’s skull.

 1: Many are the old stories where a flower, a kiss or a look play the horrible part of the sword.

 3: An old sprite from the woods, who escaped from one of the great Shakespeare’s books; this sprite, who walks around the prairies holding his withered wings with a crutch, told the poet this story during an autumn night, when the flocks had left and now the poet repeats it to you, enveloped in his very own melancholy.

 1: But before we start, we want to ask you the same question the sprite asked the poet that Autumn night, when the flocks had left.

 4: Why are you repulsed by some clean and shiny insects who move graciously in the grass?

 1: And why are you people, full of sins and incurable vices, disgusted by the worms who calmly walk across the prairie sunbathing in the lukewarm morning?

 4: Why do you look down on Nature’s most negligible creatures?

 1: While you insist on not loving deeply the stone and the worm, you will not enter the kingdom of God.

 2: The old sprite also said to the poet: “The animal and plant kingdom will soon take over. Man forgets his creator, while the animals and  plants live very close to his light. Poet, tell Mankind that love grows just as intensely in all planes of life, that the rhythm of the leaf rocked by the wind is the same as that of the distant star and that the words spoken by the fountain in the shade are spoken in the same way by the sea. Tell Mankind to be humble: everyone’s equal  in Nature’s eyes.

 4: And that’s all the old sprite said.

 1: And now, listen to our comedy.

 3: Maybe you’ll smile when you hear these insects talking like young men, like adolescents.

 1: And if you learn a deep lesson from this story, go down to the forest, to thank that sprite on crutches – go down to the forest on an Autumn night, when the flocks have left.

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Federico-G-Lorca1I’m in the very early stages of researching for my book on teaching Lorca. (Any thoughts on this are always welcome, by the way.) I’m just having a look at a version of The Butterfly’s Evil Spell which we performed as a Script in Hand Performance back in… I can’t really remember, the script is dated 2000, so around then.

The play is a real challenge to perform, mainly because the Butterfly in the title is a real butterfly, not just a symbol. The characters of the play are cockroaches. How do you play a cockroach? How do you stage a play where the characters are insects, without it becoming pretty much like a cartoon?

In the end, the challenge is the same as with any play: as actors, you look at the characters and make decisions based on what they say, what they do and what you decide they think. The movement needs a little bit more consideration, but hints of “insectness” is what we’re looking for. A commonality for all cockroaches, for example, and then individuality for each character.

mariposaAs directors, we’ll look at the play and decide what it needs. Considering that the whole play has a fairy tale quality to it and that the piece is really reflecting human nature; and given how contemporary audiences are willing to suspend disbelief when watching this kind of theatre, it wouldn’t make much sense to try to make everyone look like the insect they’re playing (although that’s precisely what Lorca tried to do during the performance of this play, as you can observe in this image). So we’ll need to decide how much do we want the audience to work their imagination and how we’re going to help them to immerse themselves in our very special world.

If you don’t know the play and like Lorca, do have a read. I will release my own translation in a couple of weeks but meanwhile, here are a few lines, from the first act.

MRS COCKROACH
You are discreet when you speak
Of the cause of your pain.
And where is your love? Far away?

SILVIA
He is so close
The wind brings me his breath.

MRS COCKROACH
A young lad from this town! You hide it well!
And does he love you?

SILVIA
He detests me.

MRS COCKROACH
That’s strange, you are rich!
In my time….

SILVIA
The princess he awaits for will never come.

MRS COCKROACH
What’s he like?

SILVIA
I’m enchanted by his small body
and his dreamy poet eyes.
He has a yellow spot on his right leg,
As yellow are the tips of his divine antennae.

MRS COCKROACH (aside)
That’s my son.

SILVIA (madly)
I love him!!!!!!

MRS COCKROACH (aside, as in a dream)
She’s wealthy.
The stupidity of my strange creature.
I’ll make him love her by force.

(If you’re a Lorca fan, have a look at my (much neglected) blog ilovegarcialorca.blogspot.co.uk.)

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