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00:07Federico García Lorca
00:58Music
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01:59Silence, I said silence, silence.
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03:37Lorca, who is now discovering New York for the first time, is a man at the height of his success, but
03:43sad and tired.
03:45Even so, he is excited by the possibility of changing his poetic form, the idea of renewing himself without accusing others.
03:52influences, bringing forth the change of his inspiration and the great response that any manifestation produces in his sensitivity
04:01life.
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06:48Everything the poet saw, felt, and hated in New York unleashed in him a rhythm, a form without
06:55precedents in his work.
06:57Federico would later write...
06:59These days I have had the pleasure, or the displeasure, of seeing the catastrophe of the New York stock exchange.
07:04I spent more than seven hours among the crowd during the great financial panic.
07:09The men were shouting and arguing like wild animals.
07:46Only by seeing it could one understand the suffering and anguish of the crowd.
07:51This show gave me a new perspective on this civilization.
07:56I thought with pity of all those people, their spirits closed to everything, exposed to terrible pressures and
08:04to the cold refinement of the calculations of two or three bankers, owners of the world.
08:15Across the sea, in Spain, the dictatorship of Primo de Rivera is nearing its end.
08:21The incessant battles against the university, the press, politicians, and workers' organizations have worn down the general who presents
08:30the resignation of the presidency of the government to the king on January 28, 1930.
08:36Alfonso XIII entrusted the head of his military household, General Berenguer, with the task of forming a new cabinet.
08:43Federico leaves for Cuba after a ten-month stay in the United States.
08:47It is the spring of 1930.
08:50He feels right at home there.
08:52He finds open arms, hospitable homes, and the warmest admiration for his work.
08:58During the summer, he embarks on the journey back to Spain.
09:03In the winter of 1930, upon his return from America, Federico toured the entire country giving lectures and recitals.
09:11He works in hotel rooms, waiting rooms, and on trains.
09:17It brings to the surface the agonizing and dramatic conclusion of his American experience.
09:22They are creating poetry where freedom, inspiration, horror, and beauty will blend to form an architecture
09:31poetics of a violent and previously unknown dimension.
09:35They're making a poet in New York.
09:37The dawn in New York has four columns of dust and a hurricane of black doves that splash the waters
09:47rotten.
09:49The dawn of New York groans on the immense staircases, searching among the edges for tuberoses of drawn anguish.
09:58Dawn arrives and no one receives it in their mouth, because there is no tomorrow there, nor any possible hope.
10:05Sometimes coins in furious swarms drill into and devour abandoned children.
10:12And you, beautiful Walt Whitman, sleep on the banks of the Hudson, with your beard towards the pole and your hands open.
10:23Soft clay or snow, your tongue is calling comrades to watch over your bodiless gazelle.
10:31Sleep, there's nothing left.
10:34A dance of walls stirs the prairies and America is flooded with machines and tears.
10:41I want the strong air of the deepest night to remove flowers and letters from the arch where you sleep.
10:47And a black child announces to the white people of gold the arrival of the kingdom of the ear of corn.
11:09The municipal elections of that Sunday, April 12, 1931
11:14They were going to demonstrate the republican will of the vast majority of the Spanish people.
11:32The area of gold, the arrival of gold, the arrival of the gold, the arrival of gold, the
11:36arrival of gold...
11:57On April 14, 1931, the Spanish Republic was jubilantly proclaimed.
12:06King Alfonso XIII was leaving the country.
12:19And she only sees the dust from the car, which was carrying her.
12:27Come on, now for the chorus, everyone, with grace and charm. Let's go!
12:32Come on, let's have some fun! The commotion is over and now the shooting starts, now the shooting starts.
12:43Horrible, rotten! Let's go again, you scoundrels!
12:46Come on, let's have some fun! The commotion is over and now the shooting starts, now the shooting starts.
12:59Well, it's not bad at all. Now, a break. Bar on the mezzanine.
13:09Here you go, Federiquito, you've earned it.
13:11Thank you.
13:12Come.
13:16Carlos, have you already been introduced to our friend and fellow countryman, Dr. Cruz Coque?
13:20As soon as I arrived, my love. It's a pleasure to meet you again.
13:24Please sit down.
13:27The doctor heard me say that you were feeling a bit off tonight.
13:31Ah.
13:32And of course, he asked me what a goblin was. And I couldn't explain it to him.
13:37Good. A great flamenco singer friend of mine, Manuel Torre, the boy from Jerez, once said while listening to Manuel de Falla
13:46play the piano,
13:47Nights in the gardens of Spain, where everything, everything that has black sounds, has duende.
13:55Interesting.
13:56Goethe said the same thing when he heard Paganini, but in a more refined way, of course.
14:03A mysterious power that everyone feels and that no philosopher has been able to explain.
14:09I think the goblin is like an inspiration related to danger, suffering, and death.
14:17and that especially encourages the artist who performs in public with their body.
14:21Bullfighters, for example, flamenco singers. And not all of them manage to have it.
14:28On one occasion, the boy from Jerez, the most cultured man I have ever known,
14:33my life,
14:34He said the following to another flamenco singer,
14:36You have a voice, you know the styles, but you will never succeed, because you lack charisma.
14:45So, it's perfectly clear, right?
14:48No, not at all.
14:51Do you want me to give you an example?
14:53Of course, naturally.
14:55You too?
14:55Yeah.
14:56Well then, come. I'll try.
14:59Come all. Let's go by the fire.
15:01Will you come with me?
15:03Come.
15:08This is a true story that happened a long time ago in Andalusia.
15:15When you meet him and then listen to him,
15:19There's a feeling that it's not worth continuing to fight to do anything in life.
15:25Who was the pastor?
15:26We would only reach the foot of the heights where he walks effortlessly as if on flat ground.
15:40Once upon a time there was a young peasant, a handsome lad who was in love with his mare.
15:49She loved her along with the boy's father, knowing what was happening, seeing her son's passion for
16:01The animal, first is amazed, then indignant, and finally, enraged, sells the mare.
16:10The boy, desperate, sets out to search for her day and night through mountains and fields, until he finds her in the
16:17Cordoba fair, when they were about to sell it again.
16:22He buys it and returns with it to the farmhouse and tells his father, "I want you to know that this mare..."
16:30She's my girlfriend and I love her as such.
16:34But the old peasant, beside himself, grabs his shotgun and kills the poor animal with two shots.
16:41The lad goes mad and, grabbing an axe in turn, kills the author of his days with one blow.
16:53Isn't it wonderful?
16:55It's horrible, Federico, it's a horrible story.
16:57Horrible? Don't be so rotten, my love.
17:01It is a pure love story, a colossal love story with a capital L.
17:14Well, if this story full of goblins has left you sad, as compensation, I'm going to give you some news.
17:22sensational.
17:23What am I saying, sensational?
17:28Superferolytics!
17:29Listen, it's worth it.
17:32I can inform you that the newly appointed Minister of Public Instruction of the Spanish Republic, Don Fernando de los Ríos,
17:40He will receive me tomorrow so that I can explain my university theater project, the barracks.
17:47Thank you!
17:50Thank you!
18:07Thank you!
18:13Let's walk the paths of our land together.
18:16To reach those towns of ours, those squares of Tembleque or Almazán,
18:20Burgo de Osma, Vinuesa, Estella, Eduardo Ugarte, Pepe Caballero,
18:25the Higueras brothers, Rafael Rodríguez Rapun,
18:29all.
18:29And to make Lope, Calderón, Cervantes, Tirso speak with our voices.
18:51Angeles Cortina!
18:53I'm coming!
18:54Thank you!
18:55Careful!
19:12Wait for me a moment!
19:14Quickly lick me!
19:18Good morning!
19:18Thank you.
19:52Thank you.
20:20Thank you.
20:49The people of Almazán, the students of the University of Madrid, aided by the Government of the Republic and, especially, by
20:58Minister Fernando de los Ríos, for the first time in Spain, created a theater with the creative fervor of
21:06a core of young artists, already distinguished with a bright profile in the current life of our nation.
21:14We, that is, the traveling theater group, want to represent and popularize our forgotten and great classical repertoire, since it occurs
21:26It is a shameful case that the Spanish, having the richest and most profound theater in all of Europe, is hidden from everyone.
21:36And keeping prodigious poetic voices locked away is like blocking the source of rivers or putting up an awning.
21:45to the sky so as not to see the hard tin of the stars.
22:00How much in fire, air, water, and earth.
22:05How much in fire.
22:07Fly, shine, soar, and hoist.
22:12Fly.
22:13And it holds shadows within itself.
22:16And it holds the shadows within itself.
22:18Of power, science, and love.
22:23Of power, science, and love.
22:27Blessed be the Lord.
22:37Oh, horrible and cruel homeland, of infamous hatred, of unfaithful resentment.
22:47School of sorrow, mansion of tears, house of grief.
22:53Kingdom of confusion, Babel of the century.
23:00Gloomy mansion of horror, wonder, and cruelty.
23:07How much in fire, air, water, and earth.
23:12Fly, soar, swim, and hoist.
23:16Fly, soar, swim, and hoist.
23:21And it holds shadows within itself.
23:28And it holds shadows within itself.
23:31Of power, science, and love.
23:35Of power, science, and love.
23:39Bless the Lord.
23:41Bless the Lord.
23:49On March 8, 1933, Federico premiered his drama with resounding success at the Beatriz Theatre in Madrid.
23:57Blood Wedding.
23:59The following October, a few days before the elections, which would end in a crushing defeat for the left-wing parties,
24:07Lorca had traveled to the Republic of Argentina.
24:10Buenos Aires had welcomed him with a huge crowd.
24:15During his stay in Argentina, Lorca attended the premiere of Blood Wedding, Mariana Pineda and The Shoemaker's Prodigious Wife.
24:23Back in Spain, Federico once again dedicates himself to his work at the head of the barrack.
24:29At the same time, he is immersed in the construction of a new play.
24:34A rural drama centered on a woman obsessed with the desire to have a child.
24:40I had found the title.
24:42YERMA
24:58Since the last elections, which gave the victory to the conservative forces, social unrest in Spain has been constant.
25:05The right wing had been as surprised by their triumph as the left wing had been by their failure.
25:10But once in government, she interrupted the agrarian reform, reduced wages, and strengthened the Civil Guard.
25:19Riots, revolts, partial and general strikes convulse and disturb the entire country.
25:47Ignacio Sánchez Mejías?
25:49The teacher is asleep.
25:51Is something wrong?
25:52I have a telegram for you tonight.
26:00Yeah?
26:01I was worried he might pass by without me seeing him. That's why, as soon as I see a car, I lower my...
26:05barrier.
26:05Very well, thank you very much.
26:09Take.
26:10Thank you very much, teacher.
26:11You're welcome, man. Goodbye.
26:23It's to fight a bull tomorrow. Domingo Ortega is asking me to replace her.
26:28And we have the date free, right?
26:30Yes, teacher, but the crew is on its way to Pontevedra.
26:32Yes, but Ortega offers me his.
26:35They make everything so easy for me that I feel like saying no.
26:40In the end.
26:42Where is?
26:43In Manzanares.
26:45Walking.
26:46Ignacio Sánchez Mejías bullfights in Manzanares on August 11, 1934.
26:52Ignacio, at 43 years old, has returned to bullfighting once again.
26:57The first Ordinary Fighting Bull is Negro Bragao and is called Granadino.
27:36The first bull of Lidia Ordinaria is Negro Bragao.
28:01Federico.
28:02Encarna.
28:09How is Ignacio?
28:11When they brought him in he was in very bad shape.
28:13Very badly.
28:15I think they're operating on him now.
28:17I don't know.
28:18Come on.
28:19No.
28:20Know?
28:22My family won't let me go upstairs.
28:24That?
28:26They won't let me.
28:28They won't let me be with him, Federico.
28:32Every now and then someone comes to give me news, but I...
29:01They won't let me be with him.
29:20Don't worry, don't worry, just wait.
29:38Federico, come here, do you want to see her for a moment?
29:42No, no, no, no, no.
29:46I don't want to see Ignacio's blood.
29:50I don't want to see her.
30:29Gas gangrene!
30:35No, there's nothing to be done.
31:08What happened?
31:10He was distracted.
31:12What a misfortune, Federico!
31:13He just died.
31:30A revolutionary movement erupts in Barcelona, Madrid and the Asturian mining basin in the autumn of 1934.
31:38In the first cities, the popular uprising is a failure.
31:42In contrast, the struggle of the Asturian miners takes on epic proportions, terrifies the bourgeoisie, and ignites the working class.
31:50worker from Spain.
31:51The workers' alliances, made up of socialists, communists and anarchists, take control of the area and establish a new order.
32:00For the first time, African troops are used to suppress the revolt.
32:04Regulars and legionnaires, led by the most prestigious military officers of the Republic, under the command of the young general Francisco Franco, fight
32:12to the miners.
32:14Nearly 2,000 dead and 3,000 wounded, in addition to executions and arrests, was the toll of this confrontation
32:22between the SEDA government and the workers.
32:24From that moment on, the right will begin preparing for a possible contest, and the left will look for ways to...
32:31to unite their scattered forces.
32:35On December 29, 1934, Margarita Sirgu's company, with Pedro López Lagar and with costumes and sets
32:44by Siegfried Burman,
32:46He premiered Federico García Lorca's last work, Yerma, at the Teatro Español in Madrid.
33:26And your son?
33:27No, and I don't care.
33:29Don't ask me anymore, I'll have to shout it in your ear for you to know, let's see if you can
33:33once you live peacefully.
33:36And you've never thought of him when you've seen me wanting him?
33:39Never.
33:41And I won't be able to wait for it?
33:43No.
33:45Not you?
33:46Me neither!
33:48Resign yourself.
33:50Wither!
33:51And to live in peace, both gently, pleasantly.
33:56Hug me.
33:57Are you looking for yourself?
33:57I'm looking for you, you look beautiful with the moon.
34:00Are you looking for yourself like when you want to eat a pigeon?
34:02Give it to me!
34:03No.
34:05No.
34:07No.
34:08No.
34:10Never.
34:22Wilted?
34:23Wilted?
34:28Now I know for sure.
34:33And alone.
34:40I'm going to rest without waking up startled to see if the blood announces another new blood for me.
34:49With a dry body forever.
34:54What do you want to know?
34:56No, don't come any closer.
35:00Because I have killed my son.
35:06I myself, I myself, I myself have killed my son.
35:17I have killed my son.
35:19Success!
35:20Success!
35:22Success!
35:24Success!
35:29Bravo!
35:32Bravo!
35:34Bravo!
35:41Out!
35:58Fantastic!
36:01Bravo!
36:11Thank you!
36:39On the occasion of the one hundredth performance of Yerma, I address you, ladies and gentlemen, to share my
36:48last poems.
36:55Lament for Ignacio Sánchez Mejías. To my dear friend, Encarnación López Júlvez, the Argentinian girl.
37:08The Goring and the Death
37:13At five in the afternoon. It was five o'clock in the afternoon. A child brought the white sheet.
37:22At five in the afternoon.
37:24A basket of lime already prepared. At five in the afternoon.
37:30The rest was death and nothing but death. At five in the afternoon.
37:36The wind blew the cotton balls away. At five in the afternoon.
37:41And rust sowed glass and nickel. At five in the afternoon.
37:48The dove and the leopard are already fighting. At five in the afternoon.
37:54And a thigh with a desolate wound. At five in the afternoon.
38:02The sounds of the drone began. At five in the afternoon.
38:07The arsenic bells and the smoke. At five in the afternoon.
38:12On street corners, groups of silence. At five in the afternoon.
38:17And the bull alone. Heart up. At five in the afternoon.
38:24When the snowy sweat began to fall. At five in the afternoon.
38:28When the square was filled with iodine. At five in the afternoon.
38:33Death laid eggs in the wound. At five in the afternoon.
38:39At five o'clock in the afternoon. At five o'clock sharp in the afternoon.
38:46It will take a long time for one to be born. If such a clear-skinned Andalusian is ever born at all.
38:54So rich in adventure.
38:59I sing of her elegance with words that moan.
39:04And I remember a sad breeze through the olive trees.
39:14Thank you.
39:16Thank you.
39:26Thank you.
39:46The book, a book of poems, is titled April and is published by the magazine Cruz y Raya, which he directs
39:53Pepe Bergamín.
39:55Its author is a young poet from Granada, a very good friend of mine, Luis Rosales, who has just given me a signed copy.
40:08Hey, I think your friend is running late.
40:11No, that follows my motto. Better late than never.
40:16And who is it?
40:17It can be known. A shepherd from Orihuela and an extraordinary poet, Miguel Hernández.
40:30Hello, Federico.
40:31How are you?
40:32Wow, how elegant.
40:33I'm late. Your friend might be angry.
40:35Don't worry. Pablo Neruda wants to meet Miguel Hernández, and I've promised to take him.
40:40OK.
40:45Miguel Hernández, friend and poet from Orihuela.
40:49Luis Rosales, friend and poet from Granada.
40:53Delighted.
40:53Likewise.
40:55Shall we go?
40:56No, no, no. Sit down and have something to drink first.
41:01Pablo Neruda, friend and poet of Chile, will be waiting for us.
41:05I've brought you what I've written lately.
41:08Ah, great.
41:11Be quiet. Listen.
41:15What kind of bird is that?
41:17Do you know?
41:20No.
41:22Don't know.
41:24As a child I could distinguish them, but cities destroy that knowledge.
41:29Too bad.
41:30It's a nightingale.
41:33Sing like this, listen.
41:39Sing like this, listen.
42:06What's the matter?
42:07Nothing.
42:08Don't fool me. You've been beaming for days now, and you can't hide it.
42:12I'm going with you to Barcelona, Rafael. That's what makes me happy.
42:17There's something more.
42:18Yeah.
42:21I'm afraid to tell anyone because they say it brings bad luck.
42:23But I can't take it anymore.
42:25What is it?
42:28My next work, a drama that keeps me up at night, that is practically begging me to write it.
42:35When we lived in Valderrubio, in the Granada plain, there was a house on our same street, where a widow lived.
42:42with her four daughters.
42:44After her father's death, her mother kidnaps her.
42:48In December 1935, García Lorca traveled to Barcelona with Rafael Rodríguez Rapun to attend the rehearsals
42:56finals and the premiere of a new version of Doña Rosita la Soltera.
43:02Federico already has an outline of what will be his next creation, the house of Bernarda Alba.
43:09And Federico?
43:11Hasn't Federico arrived yet? Has no one seen him?
43:13No, no, yes.
43:17Cipriano? Is that you?
43:18Yeah.
43:19Where is Federico?
43:20It hasn't arrived yet.
43:21No. And I won't start the rehearsal without him, so you tell me.
43:24I'm not saying anything, Margarita. She must be running late. We'll wait.
43:27No, absolutely not. He was meant to be here and now, so go find him.
43:31Where? Because he's not at the hotel. I just called.
43:34Do you know? Weren't you with him last night?
43:36Yes, at Juanito el Dorado's grocery store. Federico, that kid who's the secretary at the shack.
43:42Yes, Rafaelito Rodríguez Rapun.
43:44That one. And Juan Tomás and Guás, me, lots of people, singers, dancers, you know.
43:49Yes, I can imagine it. Juanito el Dorado would close the place to the public and a flamenco party would break out.
43:54at the very top.
43:55I bet you haven't gone to bed yet.
43:56What are you saying? I'm leaving right now.
43:58Yes, but Federico would stay inside until all hours. I'm absolutely sure of it.
44:02Go see if you can find it, Ala. Go.
44:06See? See?
44:12We will continue.
44:19Hello.
44:21Hey, handsome. Want to have some fun?
44:24Yes, you don't charge me much.
44:25Come on, does it fit you?
44:27Yeah.
44:32Since the criminal always returns to the scene of the crime, Cipriano Rivas Cherif loitered in the vicinity of Chinatown and
44:40It didn't take long to find Federico.
45:05He's gone.
45:08He hasn't returned. He hasn't been back to the hotel all morning.
45:11She dumped me.
45:12And that's a no-go.
45:17When we were leaving at dawn, she grabbed one of the gypsy women and left.
45:24And he hasn't returned.
45:26You're talking about Rapun, of course.
45:29I didn't know what it was.
45:30Don't tell me you didn't know.
45:31You, who finds out everything.
45:33And that everything is fun.
45:35Don't think that, Federico.
45:37Nothing scares or shocks me except hypocrisy.
45:41May I quote Malarmé?
45:43Meat is sad.
45:45Oh, and I've read all the books.
45:49Meat is sad when it is dead.
45:53Raw flesh.
45:55The pulsating flesh is the joy of living.
46:01I am not sad.
46:04I am desperate because of the betrayal of my flesh, my blood, everything that is my body and my
46:11soul.
46:12Please speak to me directly, not in verse.
46:16The truth is never spoken except in verse.
46:20In bare verse.
46:22Like the truth.
46:23The kind of love you're looking for doesn't exist.
46:26That thing you want in the most difficult way can only be found in a woman.
46:32I have never met a woman.
46:38Oh yes, women are looking for me.
46:42They are comfortable with me.
46:44They even fall in love with me.
46:47But I have never met a woman.
46:50I don't believe that, even if you swear a gypsy oath to me by the living and the dead.
46:55I am not a gypsy.
46:58I am Andalusian from the kingdom of Granada.
47:02And I haven't met a woman.
47:04And you want to convince me that a man like you, eager and curious about everything, has deprived himself of a
47:08half of the human race?
47:10Haven't you deprived yourself of the other half?
47:16If what you say is true, then you're just as abnormal as I am.
47:22Which I am, in fact, because I have only known men.
47:30And you know that faggot makes me laugh.
47:35I am amused by her womanly obsession with washing, ironing, sewing, putting on makeup, wearing skirts, and speaking with effeminate gestures and mannerisms.
47:47But I don't like it.
47:50Your idea of only getting to know the woman is not normal.
47:55Neither is mine.
47:58Love without limits is the norm.
48:03But that would require a real revolution.
48:06A new morality.
48:08A morality of absolute freedom.
48:12And that is what the beautiful old Walt Whitman was looking for.
48:20That's why I don't raise my voice, old Walt Whitman.
48:23Against the boy who writes a girl's name on his pillow.
48:26Nor against the boy who dresses as a bride in the darkness of the wardrobe.
48:30Nor against the lonely men in casinos who drink the water of prostitution with disgust.
48:35Nor against the green-eyed men who love men and burn their lips in silence.
48:40But yes against you, you city faggots, with swollen flesh and filthy thoughts.
48:45Mud mothers, mud mothers, harpies, sleepless enemies of love that bestows crowns of joy.
48:51Always against you.
48:54You are left to the boys like drops of dirty death with bitter poison.
48:59Always against you.
49:22Always against you.
50:00Thank you!
50:30Thank you!
50:31Thank you!