Yerma Barren

Yerma (meaning 'Barren') is one of three tragic plays about peasants and rural life that make up Lorca's 'rural trilogy'. It is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. The woman's barrenness becomes a metaphor for her marriage in a traditional society that denies women sexual or social equality. Her desperate desire for a child drives her to commit a terrible crime at the end of the play.

'Yerma' is one of three tragic plays about peasants and rural life that make up Lorca's rural trilogy. It follows a woman's Herculean struggle against the curse of infertility. The woman's barrenness becomes a metaphor for her marriage in a traditional society that denies women sexual or social equality.

This volume of essays commemorates and celebrates the creative works of Frederico Garcia Lorca, Salvador Dali, and Luis Bunel, three contemporaries and friends. The essays suggest that the artistic creations of Lorca, Dali, and Bunel feature theoretical ideas on (their) contemporary art in general, as well as on the particualr art form cultivated by each- ideas that help us to better understand their work as it relates to a wide rane of aesthetic theories.

En Yerma, estrenada el 29 de diciembre de 1934, Federico García Lorca retrata a una mujer que vive entre dos nítidas pasiones igualmente incontenibles que la aprisionan y la aplastan: de un lado, el ansia de ser madre y del otro, su forzosa fidelidad a un marido al que desprecia. In Yerma, released on December 29, 1934, Federico Garcia Lorca portrays a woman who lives between two equally passions that imprison her and crush her: on the one hand, the desire to become a mother and on the other, her forced fidelity to a husband she despises.

LORCA: SIX MAJOR PLAYS gathers Federico Garcia Lorca's most well-known plays in English-language translations by US Latina dramatist Caridad Svich. This new collected edition (previously available only as single set volumes) includes preface by scholars James Leverett and Amy Rogoway. A welcome addition to the translation repertoire of Federico Garcia Lorca's works.

Here in the authorized translation by James Graham-Luján and Richard L. O'Connell, with an illuminating biographical introduction by the poet's brother, Francisco García Lorca, are three tragic dramas by the great modern Spanish poet and playwright which have caught the imagination and won the critical acclaim of the literate world.

These three tragedies were written at the height if Lorca's powers and display his innovative mix of Spanish popular tradition and modern dramatic technique. Blood Wedding tells the story of a couple drawn irresistibly together in the face of an arranged marriage; Doña Rosita the Spinster follows the appalling fate of a young woman beguiled into the expectation of marriage and left stranded for a lifetime whilst Yerma is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. Set in and around his home territory, Granada, the plays return again and again to the lives of passionate individuals, particularly women, trapped by the social conventions of narrow peasant communities. The plays appear here in new playable translations.

This book explores the development of Sinhala stylistic drama from its earliest manifestations to the post-independence era. Bulathsinghala examines the impact of indigenous and imported folk theatrical forms on the work of the most significant postcolonial stylistic dramatists and on key plays that they produced. In the process, the book explores a number of myths and misunderstandings regarding Sri Lanka’s folk heritage and seeks to establish more reliable information on the principal indigenous Sri Lankan folk dramatic forms and their characteristics. At the same time, by drawing connections between folk drama and the post-independence stylistic theatrical movement, the author demonstrates the essential role of the former in Sinhala culture prior to the advent of Western and other influences and shows how both continue to inflect Sri Lankan drama today. This book will help to open the field of South Asian drama studies to an audience consisting not only of scholars and students but also of general readers who are interested in the fields of drama and theatre and Asian studies.