Places: Blood Wedding

  • Last updated on December 10, 2021

First published: Bodas de sangre, 1935 (English translation, 1939)

First produced: 1933

Type of work: Drama

Type of plot: Tragedy

Time of work: Early twentieth century

Asterisk denotes entries on real places.

Places Discussed*Andalusia

*Andalusia. Blood WeddingVast region of southern Spain that Lorca knew best and uses as the setting for many of his works. Inhabited by Moors from Northern Africa for nearly eight hundred years, it retains their cultural influences in many areas, especially in architecture, vocabulary, place names, poetry, and music. Some Moorish descendants also still remain, as do the Spanish gypsies, whose cultures combined to produce flamenco songs, music and dance.

Homes

Homes. Locations of many scenes, using minimal stage settings and direction, limited scenery. Rooms are painted yellow or pink or white and are decorated with flowers and simple furnishings.

Cave

Cave. Dwelling in which the bride lives. Caves were often used as dwellings in mountainous parts of southern Spain, notably by Gypsy families. The interior of the bride’s cave is comfortably and tastefully decorated. However, its exterior is “as hard as a landscape” on ceramic decorated with white, gray, blue and silver colors.

White house

White house. Building with arches and white stairs, walls, and floors that resemble those of a church. Neighbors meet here to discuss the ill-fated wedding and its deadly aftermath.

BibliographyCrow, John A. Federico García Lorca. Berkeley: University of California Press, 1945. Examines the biographical, thematic, formalistic, and historical elements of García Lorca’s poetry and drama. An excellent source for serious study.Duran, Manuel, ed. Lorca: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1962. Extensive examination of the aspects of poetry and drama and how they complement each other in García Lorca’s writings. Reveals how Blood Wedding is deeply rooted in Spanish folk and literary traditions. Principal plays are analyzed in great detail.Edwards, Gwynne. Lorca: The Theater Beneath the Sand. Boston: Marion Boyars, 1980. Discussion of García Lorca’s dramatic technique and innovation in the theater. Includes a thorough treatment of themes and characteristics and an intensive discussion of Blood Wedding. Excellent source for an understanding of García Lorca’s scope, technique, and talent for dramatic expression.Gibson, Ian. “Blood Wedding.” In Federico García Lorca: A Life. New York: Pantheon Books, 1989. The chapter gives a historical and psychological discussion of the people of the Andalusia region of Spain. Analysis includes examination of the Spanish Fascist political response to the play and a discussion of the play as a timeless tragedy.Honig, Edwin. García Lorca. Rev. ed. New York: New Directions, 1980. An excellent source for discussion of García Lorca’s works. A critical guidebook of his life and work; treats in detail all the available writings of García Lorca. Provides insight into how his poetry matured into full-scale drama.
Categories: Places