says the footer of this photo, a tourist is a story of García Lorca's Huerta de San Vicente. There, he begins telling a visitor asked, before a picture of Santiago Ontañón: So, Federico García Lorca and Mariana Pineda ended up married? The painting depicts a conversation between them.
In fact, the time, I can only access a view, on the count of the works in Huerta San Vicente, the happy talk (Santiago Ontañón):
the water has flowed, with winds and lightning, stops and turns, streams and backwaters.
indications
FOREWORD
Curtain arc representing the missing spoons and the Arab perspective Bibarrambla square in Granada. The scene is framed in a yellow room, like an old picture, illuminated in blue, green, yellow, pink and blue. One of the houses that look will be painted with seascapes and garlands of fruit. Moonlight. In the background, the girls sing to the accompaniment, the popular romance:
Estampa First
Mariana House. White walls. In the background, painted dark balconies. On a table, a glass fruit bowl full of quinces. The entire roof will be filled with fruit, hanging. Above the comfortable, large branches silk roses. Autumn afternoon. As the curtain rises, it appears Mrs. Angus, Mariana adoptive mother, sitting, reading. Wears dark. Has a cold air, but at the same time maternal. Isabella wears nice Clavel. Has thirty-seven years.
Scene II Enter
laughter giving the daughters of Judge of the Chancery. They wear huge ruffled skirts and come with blankets combed the fashion of the time, and a carnation in each temple. Lucy's blonde toast, and Amparo, morenísima, deep eyes and quick movements. Scene III
The door opens, and Mariana appears, dressed in mauve, with a loop hair, comb and big red rose behind his ear. Simply a diamond ring on her left hand. Appears worried, and demonstrates, with advancing the dialogue of acute concern. Mariana By entering the scene, the two girls are at your meeting. Scene V
Mariana
quickly through the scene and see the time in one of those big gold watches and dreams of all the exquisite poetry of the time and the century. He peers through the windows and see the last light of evening. Scene VII
Fernando appears in the doorway, tall hat with ribbons in his gloved hands. Clavel precedes it.
...
(Fernando takes the card and unfolded. At this time, the clock strikes eight slowly. Topaz and amethyst lights of the candles made the room shake lyrically. Mariana walk the scene and anxious to look younger. This reads the beginning of the letter and has an exquisite, but contained, a gesture of pain and discouragement. Pause, in which one hears the clock and feel the anguish of Marion.)
Scene VIII lonely
The stage is half a second. Mariana has just gone through a door and Fernando, when you see Mrs. Anguish by opposite, with a candlestick. The fine autumn quince perfume fills the air.
Estampa
Second
main room in the house of Mariana. Intonation in gray, white and ivory, as an old lithograph. Stand white, Empire style. In the background, a door with a gray curtain, and side doors. There is a large console box, and silk flowers. In the center of the room, a piano and crystal chandeliers. It is night. Are on the scene and children Clavel Mariana. Delicious children's fashion wear at the time. The Carnation is sitting, and sides, on stools, kids. The room is clean and modest, while retaining certain luxury furniture inherited by Mariana. First
Scene .. Scene V
Mariana comes running to the door at the time that Don Pedro enters it. Don Pedro thirty-six years. It's a nice man, calm and strong. Dress properly and speaks with a sweet. Mariana stretches out his arms and shakes hands. Mrs. Angus adopts a sad and reserved attitude. Pause.
Scene VII
Enter three men with large gray layers, one of which has pins, Mariana and Pedro are received kindly. The men shake hands with Marian and Don Pedro.
Scene VIII appears by the door Conspirator 4. Is a strong man, rich peasant. Wears traditional costumes of the era: wings pointed hat velvet, adorned with tasseled silk jacket with embroidery and aplicaduras cloth of all colors on the elbows, on the cuff and neck. The trousers, in turn, subject of filigree buttons, and leggings, leather, open on one side, revealing the leg. Bring a sweet sadness manly. All the characters are standing near the door. Mariana does not hide his anguish, and look, and the newcomer, and Don Pedro, with a grieving and searching air.
Scene IX
background curtains rise and appears Clavel, terrified, with the candlestick of three candles in one hand and the other lying on his chest. Pedrosa, black dress, with cape, comes back. Pedrosa is a dry type, an intense pallor and an admirable serenity. Say the phrase with irony evening and look very carefully to all sides, but with correction. It's unpleasant. We must flee from the cartoon. By entering Pedrosa, Mariana stops playing and gets up from the fortepiano. Silence.
(Pause. In this scene will be imperceptible pauses and silences resounding instant, in which souls are desperately fighting for the two characters. Scene of delicate nuance, trying not to fall into exaggerations that may impair your emotion. In this scene has to Much more notice is not said that what is being said. The rain, quietly imitated and without excessive noise, will from time to time to fill silences.)
Estampa Third
Convent of St. Mary of Egypt, of Granada. Arab features. Arcos, cypresses, fountains and myrtle. There are some benches and some old leather chairs. As the curtain rises is the solitary scene. Sound of the organ and the distant voices of the nuns. In the background are running on tiptoes looking around so you do not see two novices. Toquitas wear white and blue costumes. Very quietly come to a door on the left and look through the keyhole.
Mariana Scene II appears with a splendid suit white. Is very pale.
Mariana Scene III addresses the bottom line quickly, with all sorts of precautions, and there appears Gayelette, gardener of the convent. Constantly laughing, smiling soft and healthy. Dresses like a hunter of the time.
Scene VII
bell rings for the nuns. For the background appear more of them, crossing the stage and cross themselves when going to a Virgin of Sorrows, his heart pierced by daggers, cries in the wall, protected by a huge arch of yellow flowers and silver paper. Among They include the Novices 1 and 2. The cypress trees begin to stain with golden light.
Scene VIII sits on the bench in loving attitude, back to the site where they enter. Carmen's mother appears. And Mariana, overcome, turns. In the silence of the scene, Fernando enters, pale. Mariana is shocked.
Scene
last
enter the forum all the nuns. Have the sadness on their faces. Novices 1 and 2 are in the foreground. Sister Carmen, dignified and pierced with grief, near Mariana. Will acquire the entire scene, until the end, a great light weird Granada twilight. Pink and green light coming through the arches, and cypress are blended exquisitely to look like gemstones. Descends from the ceiling a soft orange light that will intensify until the end.
(A lively and solemn ringing invades the scene, and a children's chorus starts, far, the romance. Mariana is going, going slowly, supported by Sister Carmen. All other nuns are kneeling . A wonderful light and delusional invade the scene. In the background, the children sing.) Oh, what a sad day in Granada, which had stones mourn, to see that Marion is dying on the gallows for not reporting! (No ceases ringing.) Curtain
slow
Granada, January 8, 1925.
