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joannnakin's review against another edition
adventurous
challenging
dark
mysterious
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0
forever_rain's review against another edition
challenging
dark
emotional
mysterious
sad
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
5.0
phoebe912's review against another edition
challenging
dark
emotional
reflective
tense
fast-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0
casparb's review against another edition
1) luv the cover
2) incredible beautiful tragedies I'm so happy here. These were all I hoped for! too much too gorgeous to quote , I think just do it
2) incredible beautiful tragedies I'm so happy here. These were all I hoped for! too much too gorgeous to quote , I think just do it
lovelillie's review against another edition
dark
emotional
tense
fast-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.75
martacava's review against another edition
Les tres obres són magnífiques però l'edició de Trotalibros és la cirereta del pastís
sea_beatnik's review against another edition
5.0
Wow. These poems carry the essence of Greek tragedies but with Lorca's magic. There is no denying Lorca was a talented poet and playwright. Lorca the saint. My favorite plays in order:
1.The House of Bernanda Alba
2.Yerma
3. Blood Wedding
1.The House of Bernanda Alba
2.Yerma
3. Blood Wedding
mobullock's review against another edition
4.0
From Blood Wedding:
“...it’s so terrible to see one’s own blood spilled out on the ground...When i got to my son, he lay fallen in the middle of the street. I wet my hands with his blood and licked them with my tongue--because it was my blood.”
From House of Bernarda Alba:
“AMELIA: To be born a woman’s the worst possible punishment.
MAGDALENA: Even our eyes aren’t our own.”
Lorca’s women have a volcanic ferocity. Their passions vehement, their sorrows chasmic and eternal, and their joys transient, most of the major women characters in these three plays (Blood Wedding, Yerma, House of Bernarda Alba) seem to be at war with a man-made narrative of “proper” womanhood. One thing Lorca might be exploring in these plays is the nature of desire, how a woman can be seemingly resolved to cultural patriarchy and yet is emotionally rife with longing and regret for a life she can never live. This is evident in Blood Wedding where a bride is torn between her duty to her husband and her love for the man who arrives horseback outside her window every night. It is perhaps personified in Yerma, in the titular character’s near psychotic need for motherhood, what she seems to interpret as the ultimate expression of not only womanhood but freedom, or rather escape. It is what tears five sisters apart in House of Bernarda Alba as they live under the thunderous cane of their domineering mother. Desire. Repression. Frustration. Longing. Repentance. These words danced through my ears as I experienced these plays. I thought of Lorca and his own unrequited desires living as a gay man in mid-Civil War Spain. Maybe it was his deep familiarity with such passions that enabled him to render so palpably the heartbreaks of these women. There’s more to my feelings about these plays that are inexpressible at the moment, but we all know the tragedy of living without fulfillment and longing with no remedy.
“...it’s so terrible to see one’s own blood spilled out on the ground...When i got to my son, he lay fallen in the middle of the street. I wet my hands with his blood and licked them with my tongue--because it was my blood.”
From House of Bernarda Alba:
“AMELIA: To be born a woman’s the worst possible punishment.
MAGDALENA: Even our eyes aren’t our own.”
Lorca’s women have a volcanic ferocity. Their passions vehement, their sorrows chasmic and eternal, and their joys transient, most of the major women characters in these three plays (Blood Wedding, Yerma, House of Bernarda Alba) seem to be at war with a man-made narrative of “proper” womanhood. One thing Lorca might be exploring in these plays is the nature of desire, how a woman can be seemingly resolved to cultural patriarchy and yet is emotionally rife with longing and regret for a life she can never live. This is evident in Blood Wedding where a bride is torn between her duty to her husband and her love for the man who arrives horseback outside her window every night. It is perhaps personified in Yerma, in the titular character’s near psychotic need for motherhood, what she seems to interpret as the ultimate expression of not only womanhood but freedom, or rather escape. It is what tears five sisters apart in House of Bernarda Alba as they live under the thunderous cane of their domineering mother. Desire. Repression. Frustration. Longing. Repentance. These words danced through my ears as I experienced these plays. I thought of Lorca and his own unrequited desires living as a gay man in mid-Civil War Spain. Maybe it was his deep familiarity with such passions that enabled him to render so palpably the heartbreaks of these women. There’s more to my feelings about these plays that are inexpressible at the moment, but we all know the tragedy of living without fulfillment and longing with no remedy.
dylanthwaits's review against another edition
emotional
mysterious
fast-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5