By Reed Anderson (auth.)
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Extra resources for Federico García Lorca
The Wife, encouraged by this frank. exchange, describes her fugitive husband who has now been transformed through the fantasy of her memory: ' ... '8 The Shoemaker then confesses that he would now be happy to let his wife 'command the castle' if only she would come back and be forgiven; she confesses her undying love for her husband, and her wish to forgive hirn if only he will return horne. The skilfully delayed moment of reconciliation is at hand and the Shoemaker joyfully tears off his disguise.
In contrast, the Tragicomedy's scenes are far more elaborately framed and the dialogue is full of nuances which, along with the conventional action, could successfully be played as broad farce by actors and actresses. The speeches here are for the most part more substantial than in the Puppet Show, and they serve in many instances to elaborate a character's feelings, especially Rosita's, who in this play is a comic-pathetic victim of her father's and Don Crist6bal's plotting. The pace does not reach the rapidity demanded by traditional farce until the final scene, whereas that pace is sustained throughout Don Crist6bal's Puppet Show.
Art and literature for Lorca were primarily social, and as often as not to be experienced collectively, in performance, as part of an audience. There was scarcely a single detail in the world of the contemporary theatre in Spain that escaped Lorca's notice. At the same time he undertook his truly daring enterprise with La Barraca, Lorca was also engaged in the establishment of theatre clubs in the cities, whose mission would be to produce works that the commercial theatre would not risk. A few private groups already existed, but their programmes, according to Lorca, were facile and old-fashioned, serving as apretext for social gatherings among a small elite.