Theory and play of the duende summary. Ars, Arte et Labore: "The Theory and Function of Duende" Federico GarcĂa Lorca 2022-12-18
Theory and play of the duende summary
Rating:
5,4/10
1552
reviews
The theory of duende, as developed by the Spanish poet and playwright Federico GarcĂa Lorca, suggests that authentic art and performance arise from a connection to a primal, irrational force. This force, known as duende, is characterized by a sense of danger, intensity, and authenticity, and it is thought to be the source of true inspiration and creativity.
According to Lorca, the duende is a mysterious and elusive force that cannot be fully understood or controlled. It is something that emerges spontaneously and unpredictably, and it is often associated with moments of great emotional intensity and passion. The duende is said to be the source of the fire and passion that drive great art and performance, and it is thought to be essential for creating truly powerful and meaningful works.
The play of the duende, then, refers to the act of seeking and embracing this primal force in the creation and performance of art. It involves a willingness to take risks, to embrace the unknown, and to allow oneself to be fully immersed in the creative process. In this sense, the play of the duende is a kind of dance with the muse, a surrendering of oneself to the creative process and a willingness to be vulnerable and open to whatever emerges.
Lorca argued that the duende was particularly powerful in the art forms of poetry, music, and dance, as these forms are more closely connected to the body and the emotions. He believed that these art forms had the ability to tap into the primal, irrational forces that lay beneath the surface of human experience, and that they could evoke powerful emotions and awaken the spirit in a way that more cerebral art forms could not.
For Lorca, the play of the duende was a way of connecting with the deeper, more authentic parts of the self, and of creating art that was truly meaningful and powerful. It was a way of accessing the irrational and the unconscious, and of using these forces to create something that was truly transformative and inspiring.
In summary, the theory of duende suggests that authentic art and performance arise from a connection to a primal, irrational force known as the duende. The play of the duende refers to the act of seeking and embracing this force in the creation and performance of art, and it involves a willingness to take risks, to embrace the unknown, and to allow oneself to be fully immersed in the creative process. Lorca believed that the duende was particularly powerful in the art forms of poetry, music, and dance, and that it had the ability to tap into the deeper, more authentic parts of the self and to create art that was truly meaningful and powerful.
Garcia Lorca, Theory and Play Of The Duende
. He is an accomplished critic whose profound analysis is reinforced by his deep technical and historical understanding of music and literature. Every art and every country is capable of duende, angel and Muse: and just as Germany owns to the Muse, with a few exceptions, and Italy the perennial angel, Spain is, at all times, stirred by the duende, country of ancient music and dance, where the duendesqueezes out those lemons of dawn, a country of death, a country open to death. What is difficult is to know how to discover it, and to awake the deep lakes of the soul. She began her studies in painting at the Fine Arts College in Valencia and finished her degree at the Universidad Complutense of Madrid in 1986.
Next
Theory and Play of the Duende
The arrival of the duende presupposes a radical change to all the old kinds of form, brings totally unknown and fresh sensations, with the qualities of a newly created rose, miraculous, generating an almost religious enthusiasm. This seminar will be offered in a workshop format. But how it horrifies the angel if he feels a spider, however tiny, on his tender rosy foot! Nor is it strange that this song is heard at the dawn of our lyrical tradition: In the garden I shall die, in the rose-tree they will kill me, Mother I went to gather roses, looking for death within the garden. Above all, we will consider the extent to which his drawings may be considered revelatory of some authentic, inner self. While the duende has to be roused from the furthest habitations of the blood. For every man, every artist called Nietzsche or CĂ©zanne, every step that he climbs in the tower of his perfection is at the expense of the struggle that he undergoes with his duende, not with an angel, as is often said, nor with his Muse. John of the Cross.
Next
Lorca, Garcia (1898
Golden bread or fold of tunic, it is her norm that the poet receives in his laurel grove. Flamenco has come to be one of her favorite topics. The exhibition synthesizes more than twenty years of work through a guiding thread: an inquiry about the origin of emotions in art through photography, specifically about the duende in flamenco. Essay On The Beat Generation. We will also talk about voiceâand how one can recognize in the voice whether it has duende or daemonâand how these figures can help to create new shapes, forms, and structures that lead to the creation of new genres. His unique choices in diction, symbolism and imagery artfully conveys his criticism against the wrongdoings of Uncle Sam and his subjects.
Next
Federico GarcĂa Lorca: Theory and Play Of The Duende
Brief Bio of Guest Speaker: Dr. Blood is another symbolism that Lorca uses frequently, and it means life. The duendeI mean, secret and shuddering, is descended from that blithe daemon, all marble and salt, of Socrates, whom it scratched at indignantly on the day when he drank the hemlock, and that other melancholy demon of Descartes, diminutive as a green almond, that, tired of lines and circles, fled along the canals to listen to the singing of drunken sailors. This was the case with the duende-haunted Eleonara Duse, who searched out failed plays to make triumphs of them through her inventiveness, and the case with Paganini, explained by Goethe, who made one hear profound melody in vulgar trifles, and the case of a delightful young girl in Port St. You can own to the Muse with the muleta, and to the angel with the banderillas, and pass for a good bullfighter, but in the work with the cape, while the bull is still free of wounds, and at the moment of the kill, the aid of the duende is required to drive home the nail of artistic truth. Hence he concluded that individuals of a society governed by capitalism risked falling into a state of nihilism bereft of meaning. And how she sang! In and as the awakening Anthropocene we began to think of ourselves as people within a larger context.
Next
Theory and Play of the Duende by Federico GarcĂa Lorca
In the room were the Floridas, whom people think are butchers, but who in reality are millennial priests who still sacrifice bulls to Geryon, and in the corner was that formidable breeder of bulls, Don Pablo Murube, with the look of a Cretan mask. La UniĂłn 1996 , Ha pasado un Duende 1999 , and Duendes del Flamenco 2005. Federico GarcĂa Lorca 5 June 1898 â 19 August 1936 gave the famous lecture called TeorĂa y juego del duende in Buenos Aires in Argentina in 1933. Lunatics Taking Over the Asylum: Cultural Chaos in 1960s America Firstly, the group of friends and writers most commonly known as the Beats evolved dramatically in focal points such as Greenwich Village and Columbia University, and subsequently spread their political and cultural views to a wider audience. She had to rob herself of skill and safety: that is to say, banish her Muse, and be helpless, so her duende might come, and deign to struggle with her at close quarters. . Orphic , the first stanza of which is placed precisely under the sign of â the ÎÎÎÎΩÎ.
Next
Photography exhibition âAna Torralva: Theory and play of the duendeâ
It appears and they close the curtains. Nor is it strange that this song is heard at the dawn of our lyrical tradition: In the garden I shall die, in the rose-tree they will kill me, Mother I went to gather roses, looking for death within the garden. Theory and Play of the Duende I quote three fragments below from the conference. These songs deny us our humanness and our God-given right to be sad and the air-waves are littered with them. In Spain they open them. Lagartijo, with his Roman duende, Joselito with his Jewish duende, Belmonte with his Baroque duende, and Cagancho with his Gypsy duende, showed, from the twilight of the bullring, poets, painters and composers the four great highways of Spanish tradition. Allen Ginsberg's Views Of The Beat Movement It also talks about how the poets found inspiration and excitement through music, specifically jazz.
Next
Play and Theory of the Duende by Federico GarcĂa Lorca
When the angel sees death appear he flies in slow circles, and with tears of ice and narcissi weaves the elegy we see trembling in the hands of Keats, Villasandino, Herrera, BĂ©cquer, and Juan RamĂłn JimĂ©nez. The audience remained silent. Pastora Pavon finished her song in silence. Students can show and discuss their projects, bring issues or sticking points to the forum, and more generally offer feedback on their experience of the programme and art making process. Translated from the Spanish by A. Thus, the duende will make the art transcendental. Please note that Federico GarcĂa Lorca's original, Spanish works may not be in the Ladies and Gentlemen, Between 1918 when I entered the Residencia de Estudiantesin Madrid, and 1928 when I left, having completed my study of Philosophy and Letters, I listened to around a thousand lectures, in that elegant salon where the old Spanish aristocracy went to do penance for its frivolity on French beaches.
Next
Theory and Play Of The Duende by Federico GarcĂa Lorca
The magical virtue of a poem consists in always being filled with Duende, to baptize with the dark water all those who look at it, since with Duende it is easier to love, to understand, and be certain of being loved, and being understood, and this struggle for expression and communication of the expression, in poetry, sometimes gain fatal characters. Where is the duende? In the garden I shall die. La Niña de Los Peines had to tear apart her voice, because she knew experts were listening, who demanded not form but the marrow of form, pure music with a body lean enough to float on air. Jack Kerouac and The Beat Generation The Beat Generation, made up of writers, artists and misfits, was forged not long after the end of World War II. The poem opened the eyes of American citizens, showing them another way of viewing sexuality and other topics that were deemed explicit. . Lorca home Lorca and Dali Lorca â Life, Passion and Death Lorca and Duende Poems From Poet in New York Raul da Gama is a poet and essayist.
Next
Ars, Arte et Labore: "The Theory and Function of Duende" Federico GarcĂa Lorca
What is needed is to find that void that analysis tries to fill with theories so that we do not find the gapâbut it is necessary to be acquainted with that voidâand to not fear that space where nothing works the way it used toâbecause that is the space where possibilities take place. The common theme of the group was the rejection of the prevalent middle-class values in the United States. Longing for air and sunlight, I was so bored I used to feel as though I was covered in fine ash, on the point of changing into peppery sneezes. . Ana Torralva: Theory and play of the duende From June 30th to November 5th 2017 Museo Regional de Arte Moderno de Cartagena MURAM Palacio de Aguirre. The value of the human endeavor, for him, lies not in strict adherence to some fixed standard or set of standards but rather in the constant transcendence of those standards.
Next
Theory and play of the Duende and imagination, inspiration, evasion (edition)
The Beat Generation embraced creativity untouched by culture. The bullfighter who terrifies the public with his bravery in the ring is not fighting bulls, but has lowered himself to a ridiculous level, to doing what anyone can do, by playing with his life: but the toreador who is bitten by the duende gives a lesson in Pythagorean music and makes us forget that his is constantly throwing his heart at the horns. This growing realisation and its effects have sanctified a new way of thinking, feeling, experiencing and moving. Duende is usually associated with flamenco culture, but Lorca defines it as a universal artistic concept. Most valiant vanquisher of the duendeand the counter-example to Philip of Austria, who sought anxiously in Theology for Muse and angel, and was imprisoned by a duendeof icy ardour in the Escorial Palace, where geometry borders on dream, and where the duendewears the mask of the Muse for the eternal punishment of that great king. It is interesting that Lorca reinterpreted the symbolism and gave new roles to Angel and Muse.
Next