By David F. Richter
Garcia Lorca on the fringe of Surrealism: The Aesthetics of Anguish examines the diversities of surrealism and surrealist theories within the Spanish context, studied throughout the poetry, drama, and drawings of Federico Garcia Lorca (1898 1936). not like the idealist and unconscious tenets espoused by means of surrealist chief Andre Breton, which specialize in the impressive, automated artistic tactics, and sublimated depictions of truth, Lorca s surrealist impulse follows a trajectory extra in response to the theories of French intellectuals reminiscent of Georges Bataille (1897 1962), who used to be expulsed from Breton s authoritative team. Bataille opinions the lofty targets and beliefs of Bretonian surrealism within the pages of the cultural and anthropological overview files (1929 1930) by way of a dissident surrealist ethno-poetics.
This model of the surreal underscores the superiority of the awful or darker points of truth: drawback, primitive sacrifice, the dying force, and the violent illustration of lifestyles portrayed via formless base subject reminiscent of blood, excrement, and fragmented our bodies. the current learn demonstrates that Bataille s theoretical and poetic expositions, together with these facing l informe [the formless] and the somber vacancy of the void, have interaction the trauma and anxiousness of surrealist expression in Spain, relatively just about the suffering, hope, and demise that determine so prominently in Spanish texts of the Nineteen Twenties and '30s frequently certified as surrealist. Drawing widely at the theoretical, cultural, and poetic texts of the interval, Garcia Lorca on the fringe of Surrealism deals the 1st book-length learn to contemplate Bataille s pondering in the Spanish context, tested in the course of the paintings of Lorca, a novel exponent of what's the following known as a dissident Spanish surrealism.
By examining Lorca s surrealist texts (including Poeta en Nueva York, Viaje a los angeles luna, and El publico) throughout the Bataillean lens, this quantity either amplifies our knowing of the poetry and drama of 1 of an important Spanish writers of the 20 th century and likewise expands our standpoint of what surrealism in Spain means."
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Garcia Lorca on the fringe of Surrealism: The Aesthetics of agony examines the diversities of surrealism and surrealist theories within the Spanish context, studied during the poetry, drama, and drawings of Federico Garcia Lorca (1898 1936). not like the idealist and unconscious tenets espoused by means of surrealist chief Andre Breton, which concentrate on the awesome, computerized inventive procedures, and sublimated depictions of fact, Lorca s surrealist impulse follows a trajectory extra based on the theories of French intellectuals corresponding to Georges Bataille (1897 1962), who was once expulsed from Breton s authoritative workforce.
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Extra resources for García Lorca at the Edge of Surrealism: The Aesthetics of Anguish
Andrés Soria Olmedo, María José Sánchez Montes, and Juan Varo Zafra (Granada: Diputación de Granada, 2000), 173. 9. While extremely important to Lorca’s conception of form, the formless, and the surreal, the ideas of Buñuel and Dalí are only considered here briefly. Regarding their relationship and artistic association with Bataille, several sources link the Buñuelian and Dalinian creative impulses to Bataille’s theories. The curious reader could refer to Dawn Ades’s work on Dalí and surrealism cited in this study, as well as Agustín Sánchez Vidal’s discussion of these complex relationships in Buñuel, Lorca, Dalí: El enigma sin fin [Buñuel, Lorca, Dalí: Enigma Without End] (Barcelona: Planeta, 2000), 208–10, 217.
The destruction of theatrical norms is similar to what Antonin Artaud (another dissident surrealist member who, like Bataille, was excommunicated from the Bretonian group) deems the “theater of cruelty,” a theater that reaches outside its borders and influences the “real” world. This “closure of representation,” as Jacques Derrida explains with reference to Artaud, is brought to the forefront of Lorca’s theatrical work as the audience rebels against the staging of the play and sets fire to the curtains.
25 In the “Second Manifesto” he also condemns dissident surrealists who had either left the group or who had been excommunicated from it. Among those denounced are Bataille, Artaud, Leiris, Jean Carrive, Joseph Delteil, Robert Desnos, Francis Gérard, Georges Limbour, André Masson, Philippe Soupault, and Roger Vitrac. Several of those disenfranchised from the surrealist group would collaborate with Bataille on the 1929–1930 review Documents, which sought to undermine surrealism from within. 26 Bataille’s thinking constantly sought to question and counteract the existing models of analyzing art, society, ethnography, and anthropology.
García Lorca at the Edge of Surrealism: The Aesthetics of Anguish by David F. Richter