The show I propose on Federico García Lorca follows the narrative pattern I have already used in shows such as Tots aquests dois (on the life and work of the poet and singer Guillem d’Efak), La casa en obres (on the life and work of the poet and writer Blai Bonet), Poseu-me les ulleres (on the life and work of the poet Vicent Andrés Estellés) and, perhaps above all, Esquena de ganivet (on the life and work of the poet Damià Huguet). This particular narrative uses different languages in order to present the audience with the most multifaceted view possible of the narrated character.
And so, our show on Lorca have five voices or dramatic elements:
The guitarist interpret the chosen themes for each situation so as to configure the angle and the tone with which we want to mark each scene.
Flamenco singing, as well as blending in with the dramatic tone, contribute to the show with a selection of Lorca’s poetry set to music. This selection will depend on the dramatic effect of each of the songs in relation to the different moments of the narrative into which they are inserted.
The flamenco dancer is the spotlight throughout the show – the protagonist, a physical projection of the poet’s soul. Every choreography will try to express the most intimate reflection that each of the narrated experiences projects towards our character’s inner life. It will be like a synthesis of the vital experience narrated, expressed through the abstraction of body movement and dance
The actress recite a selection of texts, mainly from Lorca’s poetical work – but also from his prose, his letters and his theatre. The texts will be selected according to how they relate to each of the episodes of vital experience presented in the show.
The video contain a main image that will be used as the dramatic focus and – at the same time – as the narrative’s motive power. This image will be of the flamenco dancer, dressed the same way as on stage, travelling by train from Madrid to Granada. We’ll see him getting on the train at a Madrid train station, the different stops during the trip – with its landscapes and changes of light – and, at the end, we’ll see him getting off the train at the Granada train station. During the trip, he’ll be sitting on a seat, looking out the window absent-mindedly. On the seat in front of him, there will be each of our interviewees, and, on the window pane, edited in a translucent manner during post-production, selected images from the previous documentaries filmed before ours. The video will also contain a selection of photographs and drawings by the author.Credits and datasheet Premiered: 16/07/2015 / Available