Lorca, Garcia - Theory and Play of the Duende. Garc. Manuel Torre, great artist of. Andalusian people, said to someone who sang for him: . That wonderful singer El Lebrijano. Debla, said: ! That has duende!’ but was bored.
El estudio de los procesos explicitados tanto plasmados en la obra. That wonderful singer El Lebrijano, creator of the Debla. The duende I mean, secret and shuddering.
On the Way to Duende (through Lorca's 'Elogio de la Argentina') Uploaded by. Padece el arre de Federico Garc.
Duende: In Federico Garcia-Lorca’s acclaimed essay Play and Theory of the Duende (1933), Duende is defined as one of three incarnations of artistic inspiration. En la actualidad Federico Garc Federico Garcia Lorca.
Gluck, Brahms and Milhaud. And Manuel Torre, a man who had more culture in. I’ve known, on hearing Falla play his own Nocturno del.
Generalife spoke this splendid sentence: . I heard an old maestro. The duende I. mean, secret and shuddering, is descended from that blithe daemon, all marble. Socrates, whom it scratched at indignantly on the day when he. Descartes, diminutive as.
This is a precise and. Raphael: defends and spares, like St. Michael: proclaims and. St. The angel dazzles, but flies over a man’s head.
The angel on the road to Damascus, and that which. Assisi, or the one that. Heinrich Suso’s footsteps, create order, and there is no way to. The Muse dictates, and occasionally prompts.
Muse poets hear voices and don’t. Muse who inspires them and. Apollinaire, a great poet. Muse, next to whom the divine angelic Rousseau once. The Muse stirs the intellect, bringing a landscape. Muses who inhabit monocles, or the roses of lukewarm lacquer in a.
Angel and Muse come from outside us: the angel. Muse form (Hesiod learnt from her). Golden bread or fold of. While the duende. Reject the angel, and give the Muse a kick, and. Muse, made ill by. The true struggle is with the duende.
The roads where one searches for God are known. St. Teresa, or by the three paths of St. And. though we may have to cry out, in Isaiah’s voice: Truly you are a hidden God,’. God sends his primal thorns of fire to those who seek Him. We only know it burns the blood like powdered glass, that it. Goya, master of the greys, silvers and pinks of the finest English. Moss. They might deceive people into thinking they.
Once, the Andalusian . She played. with her voice of shadows, with her voice of beaten tin, with her mossy voice. But, there was nothing there: it was useless. The. audience remained silent. In the room was Ignacio Espeleta, handsome as a. Roman tortoise, who was once asked: .
In the room were. Floridas, whom people think are butchers, but who in reality are millennial. Geryon, and in the corner was that. Don Pablo Murube, with the look of a Cretan mask. Only, a little man, one of those. What matters here is something other.’Then La Ni.
She managed to tear down the. Negroes of the Antilles in their rite. Santa B. She had to. Muse, and be. helpless, so her duende might come, and deign to struggle with her at.
Her voice no longer at play, her voice a jet. Christ by Juan de Juni. The arrival of the duende presupposes a. In all Arab music, dance, song or elegy, the.
Allah!’ so close to. Southern Spain, the appearance of the duende is. Years ago, an eighty year. Jerez de la Frontera, against lovely. Muses. and angels with lovely forms and smiles, who could earn the prize but her. All the arts are capable of duende, but.
Often the composer’s duende fills the. This was the case with the duende- haunted. Eleonara Duse, who searched out failed plays to make triumphs of them through. Paganini, explained by Goethe, who made. Port St. Marys, whom I saw singing and dancing that terrible Italian. What happened was that each effectively.
Every art and every country is capable of duende. Muse: and just as Germany owns to the Muse, with a few exceptions. Italy the perennial angel, Spain is, at all times, stirred by the duende. In every other country death is an ending. It. appears and they close the curtains. In Spain they open them.
Tales of death and the silent. Spaniards. From Quevedo’s dream of skulls. Vald. It’s no accident that all Spanish art is rooted in our. Pleberio’s, or the dances of that maestro Josef Mar.
In all the world only Mexico can grasp my country’s hand. Beneath the broken arch.
Italians and calls up Lucretius’ faithful cockerel, by whom. But how it horrifies the angel if he. Angel and Muse flee, with violin and compasses, and the duende.
Flamenca not for entangling an. Brother Juan de la Miseria: nor for. His Holiness’s Nuncio: but because she was one of those few creatures. Neither in Spanish dance nor in the bullfight does. It changes a girl, by magic power, into. The duende. never repeats itself, any more than the waves of the sea do in a storm. John of the. Cross groan, or burns naked nymphs in Lope’s religious sonnets.
When he snows he makes. Herrera appear naked to show that cold does not kill: when he burns he pushes.
Berruguete into the flames and makes him invent new dimensions for sculpture. John of the Cross’s duende. The wounded stag. Gonzalo de Berceo’s Muse and the Archpriest of Hita’s angel must depart. Jorge Manrique, wounded to death at the door of the castle of. Belmonte. The angel can.
Antonello da Messina’s heads of hair, Lippi’s tunics, or the violins of. Masolino or Rousseau.