el prologo en el teatro de garcia lorca. 1986.pdf

8/13/2019 El prologo en el teatro de Garcia Lorca. 1986.pdf

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The "prólogo" in the Theater of Federico García Lorca: Towards the Articulation of aPhilosophy of TheaterAuthor(s): Francesca ColecchiaSource: Hispania, Vol. 69, No. 4 (Dec., 1986), pp. 791-796Published by: American Association of Teachers of Spanish and PortugueseStable URL: http://www.jstor.org/stable/342598 .

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HOMENAJE GARCIALORCA 791

The "pr61ogo" in the Theater ofFederico Garcia Lorca:Towards the Articulation of aPhilosophy of TheaterU FrancescaColecchia, ittsburgh,PA

The prologue asexistedformanyyearsas a literarydevice.Hispanic uthors searlyas in the fourteenth-centuryorkby JuanManuel, El conde Lucano, have felt con-strained o prefacean individualpuswith aprologue,be thatwork a novel,a collectionof poetry,or, as in the case of Lorca,a play.Settingaside heTeatroreve,evenofLorca'sthirteenknowndramashave a prologue.Ofthe latter, ivefollowa traditionalorm,thatis, someoneenunciateshem;two, the onesthatprecede MarianaPineda andEl amordedonPerlimplin, redramatized.ignificantly,none of the Andalusian laywright'smorepopularly nownworks such as the trilogy,Asi que pasen cinco anos and El pz~blico os-sess suchintroductoryomment.A careful eadingof letterswritten o hisfriendsas well as theirrecollections f himsuggest that the Andalusianoet/playwrightdidnotwritebyimpulse.Rather, e carefullythoughta workthrough, requentlyevisingandpolishingt untilhe achieved heformhewanted.Inan interviewgiven n 1935Lorcadescribeshis creativeprocessas follows:En mi vida es distinto. Trabajobastante.En escribir tardo mucho. Me paso tres o cuatro afiospensando en una obra y luego la escribo en quincedias. .... Primero, notas, observaciones tomadas de lavidamisma, del peri6dicoa veces. .... Luego, unpensaren torno alasunto. Un pensarlargo, constante, enjundio-so. Y, por tiltimo,el trasladodefinitivode la mente a laescena (Garcia Lorca 1730).MarieLaffranqueorroborateshis inher in-troduction o Lorca'sComediasin titulowhenshe writesof the recentlydiscoveredmanu-scriptof the play:Lasdudase imperfeccionessubsistentes en nuestrotextodemuestran que le faltaba,por lo menos, una revisi6n.Faltariaademais,una vez terminadaesa hipoteticarevi-si6n, lapruebapara 1 mprescindible: l reducidoensayode otras lecturas completas de la pieza, y un tiempo

indeterminado,corto acaso, pero tambiennecesario, deC1timo,meditativo silencioso madurar(Martinez-Nadal-Laffranque292).If oneacknowledgesuchevidence, henonemust also ask why the "pr6logo"xists inbetterthanhalfofLorca's nownheater.Theanswer ies in the prologueshemselves.Letus lookat the twodramatizedrologuesfirst. The one with whichMarianaPinedaopensconsistsof a briefsixteen-linepopularballadhatrecounts hestoryof thehistoricalMariana ineda,a figure hat hadfascinatedLorcafromhis youth.Sung by a groupofyounggirls,it coincides xactlywiththe pri-marydictionarydefinitionof aprologue,"...an ntroductorypeech,often nverse,callingattention o the themeof a play" Barnhart969). Without oingbeyond hispoint n thework, the reader alreadyknows its plot.Mariana,rrespectiveof the consequences,embroidersa flag for a forbidden oliticalmovement.The government,n the personof Pedrosa,discovers he flag. Mariana e-fusesto revealherco-conspiratorsnd s exe-cuted.Lorca oncludesheplaybyhavinghil-dren repeat the four openinglines of hispoem:iOh, qu6 dia triste en Granada,que a las piedrashacia lorar,al ver que Marianita e muereen cadalso por no declarar (GarciaLorca801).

ThoughheprologuehatprefacesEl amorde donPerlimplin iffersboth n contentandstructurerom he onefound nMarianaPi-neda,it alsoconcurswitha dictionaryefini-tion, ". .. an introductoryact of a dramaticperformance"Barnhart69).Theprefacenthis playintroduces he public o the maincharactersand suggests the content of theacts whichfollow.However he prologue othis drama oes beyonda perfunctoryntro-


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792 HISPANIA 69 DECEMBER 986

duction. In it the audience learns of Per-limplin's heltered lifeand the hesitancyit hasbred in him and of Belisa's sensuality whichher studied air of innocence cannot belie. Italso provides the opportunity to learn firsthand of the concerns his servant, Marcolfa,and Belisa's mother have for those in theirimmediate charge. More significantly, theplaygoerhas the chance to observe how mar-riages were arranged in Spain, those mar-riages thatrarelyfostered anyone'shappinessand frequently degenerated into endurancecontests.Both of the above-mentionedprologuesful-fill a purpose, namelyto introduce the publicto the work it is about to see. Beyond this,they offer little informationregardingthe au-thor'sthinkingabout theater. Ofthe two, per-haps the latter mightbe consideredmore im-portantbecause of the impliedsocial criticismwhich will appear more strongly in otherworks by Lorca.It is the non-dramatizedprologues whichoffer insightinto the author'sconcerns abouttheater. Althoughusually put into the mouthof "El autor,""El poeta," or someone notnamed, a careful reading between the linesof these preliminaryobservations suggeststhat it is Lorca himself who speaks. In fact,that suchanidentitybetween creatorandcre-ation does exist is substantiatedin part byLorca'sown statement in an interview givenin 1930 aboutLa zapateraprodigiosa:El pr6logolo digo yo. ... Esto es cosa mia. Debo com-partir la zozobra del estreno como autor y como actor(Maurer103).Additional orroborationof this circumstanceis foundin Lorca'sown admissionthat whenthe Zapaterawas presented duringhis visitto Buenos Aires, the playwrighthadto recitethe prologue as the "Autor":Porcierto que el pr6logode La zapaterahabiade recitarloyo todas las noches, con mi chistera verde, de la quesalia una paloma(1708).A comparisonof ideas expressed in the non-dramatized prologues with those made byLorca in interviews and similarpublic state-ments lends support to the suppositionthatLorca utilized the prologues as vehicles toarticulatehis own concerns abouttheaterandits function.El maleficio de la mariposa, the first ofLorca's plays to be produced commerciallytells the bittersweet tale of Curianito'sunre-

quitedlove for the beautifulMariposa.Set inthe insect world, this piece, which ascribedto insects the emotionalcomplexities,dreamsand frustrations more usually attributed toman,lastedfor one catastrophicperformance.Despite the failure of Lorca'sinitialventureinto the theater, the prologue consideredalone as well as a part of the whole playhasparticularsignificance.Lorcadoes not namethe personwho deliv-ers this prologue. From this one might con-clude that it is the authorhimself who intro-duces his work.This is a poetic prefacewhichpreparesthe audiencefor the unorthodoxplaywhichfollows- the playwhich suggests thatthe lesser world of insects is structured inmuch the same manner as the world of hu-mans. The opening line, "La comedia quevais aescuchares humildee inquietantecome-dia rota del que quiere arafiara la luna y searafiasu coraz6n," 579) defines the work. Itis a humbleand disturbingplay,the story ofone who wants to claw at the moon andendsby clawingat his own heart. In a few wordsLorca tells his audienceit is going to be chal-lenged, made to feel uncomfortable aboutwhat will follow. He also suggests why, forthis is the tale of one who has dared to gobeyond his reach and havingfailed, has paidthe ultimateprice. Very skillfully,very poig-nantly, the author awakens in his public re-membrancesof dreams pursued and lost.Hints ofLorca's arlyintuitionsofinequitiesappear in this prologue. He asks, "iQuemotivos ten6is para despreciar lo infimo dela Naturaleza?'",nd answers, "Mientrasnoam6is profundamentea la piedray al gusanono entrar6isen el reinode Dios"(580). Ratherthan a rewordingof familiarreligious teach-ings, Lorca presents a plea for tolerance ofthe most abject of God's creatures. Thoughhe refers to the stone and the worm, theseare reallysymbolsforthe humblestof men-people for whom Lorca had repeatedly ex-pressed a deep concern. Whenhe states laterin the prologue, ". . . dile al hombreque seahumilde . ."(580) he reaffirmsthis concern.What one has here is Lorca, the critic andteacher,the playwrightwho stated in an inter-view with the late MildredAdamsthat, "thetheateris speciallyadapted o educationalpur-poses here in Spain"(1661).However one must read these opening ob-servations closely to find the author'sideas,forLorcahas envelopedthemin gentle poetic




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HOMENAJE A GARCIA LORCA 793

tones. He daresaskhisaudienceobreakreeof mundane ealityandbelievethat an agedsylphwhoslipped utof one ofShakespeare'sbooks and hobbles about the woods oncrutches told him the tale the audience sabout to see performed.To adda note ofauthenticityo hisstory,heclosesbyadvisingthepublichat fit learnssomethingrom hisplay,on a tranquil ight t shouldgo out tothe woodsto seek out andthankthe agedsylphwholimpsabouton his crutches.In aninterviewwithGimnez Caballeron1928,Lorca ndicated e was at workon thepuppetplayknownas LostiteresdeCachipo-rra,subtitled atragicomediaedonCrist6baly la seniaRosita.Betweenthispieceandtheill-fatedMaleficio,MarianaPineda, Lorca'sfirstsuccessfulplay,hadbeen produced ndthe initialmanuscript f La zapatera, om-pleted.Continuingn theveinbegun nMale-ficio, LorcaalsoprefacesTitereswith a pro-logue put this time in the mouthof a non-human, Mosquito, described as ". .. mitadduende, mitad martinico, mitad insecto"(633).Thoughnotquiteas poeticas theprologueto Maleficio, his one is moreforthrightnits position,reflecting n partan increasedbreadth ndmaturitynthe author.Mosquitoalsoaddresses hepublic irectly, ut nsteadof the more formal,"Sefiores"with whichLorcaopensMaleficio, e calls orth,"iHom-bres y mujeres " 633), followedby repri-mands o theaudience.Hecriticizes he bour-geois theater where ". . . los hombres van adormirse las sefioras .. a dormirse am-bien" 633).Mosquito ontinues hathe andhis troupehadbeenlockedupin the theater,thatis, theyhad been symbolically eprivedof poetic inspirationuntil he spied a starthroughhe keyholeof the door.Whereuponhe advisedhisfriends o flee in searchof thesimplepeopleandthe simplethingsof thisworld.ComparehiswithLorca's wnadmis-sion:A mi me interesa mais a gente que habitael paisaje queel paisaje mismo. Yopuedo estarme contemplandounasierra durante un cuarto de hora;pero en seguidacorroa hablarcon el pastor o el lefiador de esa sierra. Luegoalescribir recuerdaunoesos diilogos y surgelaexpresi6npopularaut~ntica(Proel 3).If we review the characterswho people theAndalusianplaywright'sheater, we find thatfew of them are fromthe ranks of the noble,the royal, or the famous. They are just the

"gentesencilla" f the worldwhoheldsuchgreat attraction or Lorca. Mosquitocon-cludeshismonologue ndcriesout, "iAem-pezar "He starts off stage only to hastenback to admonish he wind to fan the as-tonishedfaces of the audienceandto wipethe tears away romthe eyes of younggirlswithout uitors.Here,as inthe firstplay, heauthorcloses his prologueon a poeticnote,thuspredisposinghe audienceor what s tocome.In the Zapatera, s in the remaining ro-loguesdiscussedhere, the introductions in-terrupted yanother f thecharacters,nthiscase, theprotagonist. rombackstageLorca'sZapatera ries out twice during he prelimi-narycomments hatshe wantsto comeout.Herimpatienceo get startedwiththe play,i.e., the businessathand,alerts heaudienceto the impulsive atureof the heroine.Inamove whichdiffers rom hatin the previousprologuesdiscussed, heZapatera'snterrup-tionservestobringhe author'smoreseriousreflections o a close. It alsofunctionsas atransitiono the actiontself.Thefinalwordsdirectedbythe "Autor"o his heroineare,'"Aempezar,tillegasde la calle"822).Thefirstact indeedopensas the Zapaterantersherhome from he street.In theprologueo thisplayLorca eaffirmshis preferenceor the simple olkexpressedearlier n the prologue o Titeres.However,in theZapatera, e goes onestepfurther ndexplainshis choice:El autor ha preferidoponer el ejemplo dramaitico n elvivo ritmo de una zapateritapopular.En todos los sitioslate y anima la criaturapoetica que el autor ha vestidode zapatera con aire de refrin o simple romancillo. .(821-22).The authorhas founda responsivechord nthe humbleSpaniard, personwhose lackofpretensemakeshimmoresensitive opoetryand moreacceptingof the marvelous.Lorca'shinking bout he theateranditsrole has becomemore concise in this pro-logue. He does not hesitateto criticize hefinancial riorities ndthe publicaste whichdeterminedmuch hathappenedn theSpan-ishtheaterofhistimes.Heblames hese twofactors for the lamentableartistic state of theSpanish theater duringthe early decades ofthe twentieth century.At one pointin hispro-logue to the Zapaterahe notes that, ". .. porser el teatroen muchasocasiones unafinanza,la poesia se retira de la escena en busca de




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otros ambientes. . ." (821).The prologue o the Zapatera lso closeswitha touchof themarvelous.ntakingeaveof thepublic, he "Autor"emoveshistophatwhichglowsfromwithinwitha greenlight.As he tips his hat, a streamof waterpoursfrom t. The"Autor"hrugshisshoulders ndwithan"Vds.perdonen,"eparts. nthisplayone is notasked ogoout nsearchofcrippledsylphs,nor do creaturespartgoblin,partelf,part nsect callout to thewind obrushawaythe tears of love-struckmaidens. Signifi-cantly, n the ZapateraLorcaplacesthe un-real,the marvelousn ahuman- the"Autor."Thismarks coming fagefor he Andalusiandramatist.Hedoesnotfeel theneedtoresortto inventedcreaturesand insects to justifyhis utilizationfthepoeticand he wondrous.For Lorca hese qualities esidein thatmostremarkable f creatures,man.In the Retablillode don Crist6bal,Lorcaturnsagain o the puppet heater.The "Pr6-logo hablado" hichopensthis workdiffersin two waysfrompreviousprologues.First,the prologueappears o be divided ntotwosections, the firstand more formalone ad-dressedto "Sefioras sefiores," nd he sec-ond morepopular ne whichbegins, "Hom-bresy mujeres,silencio;nifiocdllate"929).There are no stage directions o indicatewhether one person delivers one half andanother he secondhalf,norpreciselywherethe prologue nds. From he simple,"Saleelpoeta"(929), whichappearsat the close ofthe first halfof the prologue,one mightpre-sume hat he samepersonpresentsboth ec-tions of the introduction.n the absence ofother ndications ne mightalso assume hatthe firsthalf s spokenwith hepoetoffstageandthe secondhalf,on stage.The contentof the firsthalfof the prefaceto this piece recallsthe introductiono theMaleficion that Lorcaclaims hat the workdid not originatewith him. In this case, itcame fromthe people. He states that, "Elpoeta .. ha nterpretadorecogido elabiospopularesesta farsa de guifiol.. .'"callingit". .. la expresi6n de la fantasia del pueblo"(929).Inthe secondpart, in a mannerreminiscentof Titeres, Lorca addresses the people whoactually occupy the seats in the theater. Headmonishes them to be silent, so silent thatone canhear whether a birdmoves its wingoran ant moves its leg. The languagesuggests

existences other thanour own. Again,theauthor loses his introductorymonologue na poeticnote.The Poet states he plans o eata tinybit of breadthatbirdshave left him,and ater ron hecompany'sostumes.Then,looking bout o see ifanyones watching, eannounces,"Quiero ecirosqueyo s6 comonacen asrosasy comose crian as estrellasdel mar, pero. . ." (930).Theinterruptedentencebringsus to theseconddifference etween hisprologue ndtheones studied arlier,he substantialnter-vention n the prologue f another haracter,in thiscase, in the personof the "Director."However he dialogue etween the Poet andthe Directorbearsnorelationshipt allto thedramatizedreface oPerlimplin.Nordothetwoparticipantsaveanyrole inRetablillo sdo those whoappearn the prologueo theformerplay. nsteadof anintroductiono thecharacters n the play,or the play tself, theauthorprovides he readerwitha debatebe-tween the Directorand the Poetconcerningthe role of the latterandhis differenceswiththeDirector's nderstandingf thehero,donCrist6bal. closeranalysis uggeststhat hisis moreaconfrontationhanadiscussion, nethat the Poet loses. The exchangebetweenthe two restates in more vivid formLorca'sconcern hatcreativityn the theater s stifledbythose n control- directors,managers,m-presarios. The Spanish dramatist under-scores the powerof money n the theaterofhis daywhen in the heat of theirargumentthe Directorasks the Poet, "?No e pagosudinero?"(930). The Poet, defeated, ac-knowledgeshe Director's pperhand.In re-sponseto the latter'squestion esays exactlywhat the Directorordershimto say thoughit runs counter o his ownbeliefs.Lorcaalsocloses thisprologueon a poeticnote. Whenthe Directorpays the Poet with five goldcoins, he refuses them, askinginstead forfive silverones for"lasmonedasde platapa-recequeestin iluminadasor a una"931).Theseparation etween hepublic nd hepoet is less clearin Comediain titulothaninLorca's arlierworks.Indeedmuchdebateexists over whether or not this work has aprologue. No less a Lorcan authority thanMarie Laffranquehas reversed her positionon the matter. In her study on this playpub-lished in 1976 in the Bulletin Hispaniqueshecalls the monologue with which it opens aprologue.Twoyears later,inher introductory




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HOMENAJE A GARCIA LORCA 795

comments to the publicationof Comedia sherejects this position stating that:Talcomo apareceen este manuscrito,el "serm6n" nicialdel autor (en este caso productoro director de escena,distinto del Poeta segiin el clisico lenguaje del oficioteatral), ese "serm6n,"principiodel primer acto en el"drama in titulo,"no pudo representarla primeraredac-ci6n de un autintico pr6logo escrito como tal paraotracomedia (Martinez-Nadal-Laffranque77).In a footnote to the statement cited aboveshe adds that she discards he hypothesisorig-inally promulgated in her earlier article inBulletin Hispanique. Nonetheless, sevenpages later, in discussing the genesis andchronologyfor this work Laffranqueagainre-fers to "Elserm6n o pr6logoque encabezalaobra. . ." (Martinez-Nadal-Laffranque92).If we look chronologically t the prologuesin Lorca's theater, we notice an increasingtendency to blur the line between the pro-logue and the corpus of the play.This is par-ticularly pronouncedin the Retablillo wherethe distinction between prologueand playisless clear thanin earlierworks with such pre-liminaryobservations. The onlyindicationhereader has that Lorca's"Pr6logohablado" sover comes fromthe Directorwho, after pay-ing the poet, declares, "iJa,ja, ja Asi salgoganando.A empezar"(932).The opening pages of Comedia resemblethose of Retablillo.Althoughthe authordoesnot indicate a specific prologue in Comedia,his initial monologue serves that purpose.In this prologue, as in all of the other non-dramatizedprologues, the person who deliv-ers the monologue addresses the audiencedirectly.The Author's first words, "iSefiorasy sefiores No voy a levantar el tel6n paraalegrar al puiblicocon un juego de pala-bras. . ." (Martinez-Nadal-Laffranque319)imply the preface to the main work ratherthan the beginningof the work tself. Acarefulreadingof the content of this "serm6n" endssupport to this premise. Almost at the closeof the monologue two things occur whichsuggest that in his first conception of theworkLorcamayhave ntendedthismonologueto serve as prologue. The '"Autor"efers tothe author as thoughthey were two separatepersons:El autor sabe hacer versos, los ha hecho en mi juiciobastante buenos... pero ayerme dijoque en todo artehabia una mitad de artificio que por ahora le molesta-ba... " (Martinez-Nadal-Laffranque27).He finishes his thought, claps his hands and

orders a cup of coffee. A painted backdrop slowered. The author sits down. Violinmusicis heard. He takes up his musings again onlyto be interrupted by the "Espectador pri-mero."It would appearthat at this point theplay begins. In these initial pages Comediaparallelsthe Retablillostructurallywith onemajordifference.In Comedia he person whoenunciatesthe prologuecontinuesas acharac-ter in the playitself.More significantthan the debate over thepresence orabsence of a prologue n Comediaare the ideas about theater expressed by theAuthorin these opening lines. In his insist-ence on showingthe publicrealityratherthanin merelyamusing t, Lorcareaffirms he con-victionexpressed earlierin the interviewwithMildredAdams to the effect that the theaterserves an educationalpurpose in Spain. Hecriticizes the theater-going publicwhich, be-cause it pays for its tickets to the theater,assumes it has the rightto decide the authorswhose playsthe theater will produce. "Venisal teatro con el afin 6inico de divertiros ytendis autores a los que pagais. . ." (Mar-tinez-Nadal-Laffranque19). Later he adds,"Pagarla butacano implicaderecho de . ..juzgar la obra" (Martinez-Nadal-Laffranque323). Lorcachastises the urbanpublicwhichseeks ways not to come to grips withreality.The playwright observes quite accuratelythat the spectator in the theater feels atease preciselybecause the work on the stagedoes not focus on him. Lorcathen observes,". .. pero qu6 hermoso seria que de prontolo llamarande las tablas y le hicieran ha-blar. . ." (Martinez-Nadal-Laffranque321),thusforecastingthe work to follow.Lorcacon-tinues in this vein noting that ". . . el autorno quiere que os sintais en el teatro sino enla mitad de la calle..." (Martinez-Nadal-Laffranque323).These last statements represent a radicaldeparture from earlier ones by the author.Nonetheless they are consistent with Lorca'sconcernwithreality.Note the comment madeby him in an interview in 1935:Cada teatro seguiri siendo teatro andandoal ritmode la6poca, recogiendolas emociones, los dolores, las luchas,los dramas de esa 6poca. El teatro ha de recoger eldramatotal de la vida actual. Un teatro pasado, nutridos6lo con la fantasia no es teatro (1728).This emphasison reality does not signifytheabandonmentof the poetic on Lorca'spart. Inthe last lines of the introduction o Comedia,




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the Author muses aboutthe smell of the seawhich emanates from the breasts of sirens,and wonders how one could bring the smellof the sea to the theater and inundate theorchestraseats with stars.

n reviewing he prologues hat prefaceLorca'sdramas, one observes that withthe exceptionof MarianaPineda andEl amorde donPerlimplin,they do not concern them-selves exclusively with the content of the re-spective plays. The Andalusianplaywrightn-cludes in them some of his own concernsabout the theater as well as its relationshipto society. Certainideas appearas constants:the notion of the marvelousas an element oftheater; the plea for love and understandingof ourfellowman;the criticismof the financialconsiderations which place constraints ondramaticcreativityof authors;criticismof theaudience-its lack of imagination, he limita-tions of its preferences, its inattention;a par-tialityfor the simplefolkrather than the greatfor his characters. Other ideas, most notablythe movement towards more realism whilestill retaining the poetic ambience, evolvegradually,culminating n the introductiontoComedia. Indeed much of Lorca's thinkingaboutreality in the theater was expressed in1936when, in an interview withFelipeMora-les, he indicated the need for both realismand poetry in the theater:Tengo un concepto del teatro en cierta forma personaly resistente. El teatro es la poesia que se levanta delteatro y se hace humana. Y al hacerse, habla y grita,Iloray se desespera. Elteatronecesita que los personajesque aparezcan en la escena lleven un traje de poesia yal mismo tiempo que se les vea los huesos, la sangre(Morales 2).

In an earlier interview in El sol, he talkedabout his plans and said:Quisieraterminarla trilogia de Bodas de sangre, Yermay El drama de las hijas de Loth. Me falta esta filtima.Despues quierohacer otrotipode cosas, inclusocomediacorriente de los tiempos actuales y llevaralteatro temasy problemasque la gente tiene miedo de abordar.Aquilo grave es que las gentes que van al teatro no quierenquese les hagapensarsobreninguinemamoral(1716).This last statement suggests very clearlythatthe authorwas thinkingof changingdirection

and focus in his theater. More significantly,he appears to recognize a social obligationincumbentupon the theater to treat themesand issues of vital concern to man. In effecthe still clings to the notion of theater as aneducationalmedium.A careful reading of both interviews byLorca as well as the prologues to his playsmakes it quite clear that the ideas expressedin the introductorylines of many of his dra-matic works do not reflect isolatedpreoccupa-tions of the Spanish playwright,butmore fun-damental,ongoingconcerns about the natureof theater. One might presume that in muchthe same waythat a dramamatured orLorca,so also did his philosophyof theater unfold.Interviews fromhis early years in the theaterthroughthe ones given the year he diedofferevidence of this. In a sense, the prologuesserved as a sounding board for Lorca as heevolved his own philosophyabouttheater aswellas an introduction o the respective plays.1 WORKSCITEDAdams,Mildred tr.). "TheTheatreinthe SpanishRepub-lic."In E GarciaLorca Obrascompletas 4th ed.). Ma-

drid:Aguilar,1960.Barnhart, Clarence L. (ed.). The AmericanCollegeDic-tionary.Random House: New York,1951.Garcia Lorca, Federico. Obrascompletas 4th ed.). Ma-drid:Aguilar,1960.Gim6nez Caballero,E. "Itinerarios 6venes de Espafia:Federico GarciaLorca." nE GarciaLorca Obrascom-pletas. Madrid:Aguilar,1960.Gonzales Deleito, NicolAs. "FedericoGarcia Lorcay elteatro de hoy.Lapoesia drammiticaomo obraperdura-ble." In E Garcia Lorca Obras completas(4th ed.).Madrid:Aguilar,1960.Laffranque,Marie. "FedericoGarcia Lorca: une pieceinachev6e."Bulletin Hispanique 78, Nos. 3-4 (July-Dec. 1976):350-72.Martinez Nadal,R. and M. Laffranque.FedericoGarciaLorca: 'El publico'y 'Comediasin titulo.'Barcelona:EditorialSeix Barral, 1978.Maurer,Christopher."FiveUncollectedInterviews."Gar-cia Lorca Review7, 2 (Fall 1979):103.Morales, Felipe. "Conversacionesiterarias.AlhablaconFederico Garcia Lorca."La Voz(Madrid)20, 5. 823(April17, 1936):2.Proel (Lgzaro,Angel). "Galeria:Federico GarciaLorca,el poeta que no se quiere encadenar."La Voz Madrid)16, 4. 402 (Feb. 18, 1935):3.

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el prologo en el teatro de garcia lorca. 1986.pdf

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