Places Discussed

(Critical Guide to Settings and Places in Literature)

*Andalusia

*Andalusia. Vast 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.

Historical Context

(Drama for Students)

A Nation Divided
Spain entered the twentieth century as a constitutional monarchy. The Spanish populace, however, had...

(The entire section is 484 words.)

Literary Style

(Drama for Students)

Setting
Lorca's stage directions indicate settings that are simple, stark, and highly symbolic. The play opens within...

(The entire section is 613 words.)

Compare and Contrast

(Drama for Students)

  • 1930s: The socialist government funds art projects aimed at including the rural peasantry and provincial audiences....

(The entire section is 201 words.)

Topics for Further Study

(Drama for Students)

  • Research the Symbolist movement in literature. Which elements of Lorca's play suggest symbolist influences?
  • Metaphors,...

(The entire section is 153 words.)

Media Adaptations

(Drama for Students)

  • Blood Wedding was adapted into a film in 1981. The film, directed by Carlos Saura, tells the story through a stylized form of...

(The entire section is 46 words.)

What Do I Read Next?

(Drama for Students)

  • Lament for the Death of a Bullfighter and Other Poems (1962). A short volume of selected poems, translated and introduced by...

(The entire section is 182 words.)

Bibliography and Further Reading

(Drama for Students)

Sources
Barnstone, Willis. Six Masters of the Spanish Sonnet. Southern Illinois University, 1993.

...

(The entire section is 321 words.)

Bibliography

(Great Characters in Literature)

Crow, 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.