Federico García Lorca’s ‘impossible’ theatre staged

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/19519 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/19519 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/19519 archive 4031 disk0/00/00/33/08 2012-05-04 13:37:37 2019-01-23 09:55:59 2012-05-04 13:37:37 thesis show 0 Tyler Daniel James University of Birmingham Federico García Lorca’s ‘impossible’ theatre staged unpub CT PN0080 PN2000 10col_artl This study explores the relatively unknown area of Federico García Lorca’s theatre work which he himself termed ‘impossible’ and ‘unperformable’. With the director’s task of preproduction research in mind, the study examines biographical research as well as focusing discussion on Lorca’s experimentation – as playwright and director – with different artistic styles and techniques seen as ground-breaking in his own time which pre-empted much modern theatre practice. Analysis of primary sources provides a widespread overview of Lorca’s dramatic work: his better-known plays, ‘impossible’ plays, dramatic dialogues and fragments of incomplete pieces as well as interviews and speeches. Key sources include the theories and ideas of professional directors (most prominently Lluís Pasqual) and scholars of Spanish theatre (especially Maria M. Delgado and Gwynne Edwards) as well as biographers (particularly Leslie Stainton). Principally concerned with the challenges presented to modern theatre-makers and the possibilities and guides for directors tackling these plays, the study concludes with reflection on the production of An Impossible Dream of Life which was composed from Lorca’s The Dream of Life and extracts from his other works to make up the practice-based component of this research project. 2012-07 2011-09 graduation eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 47 University of Birmingham School of English, Drama and American & Canadian Studies, Department of Drama and Theatre Arts m_ph na 2012-07 graduation