Abstract
This dissertation deals with Federico Garcia Lorca's sojourn in Buenos Aires, Argentina, from October 1933 to March of 1934. In the first chapter, it offers a detailed account of Garcia Lorca's life experiences related to this period, filling the gaps left by previous biographers by paying attention to a myriad of Argentinean periodicals that scholars have overlooked so far. In the second chapter, I study the Argentinean theater of the first three decades of the 20th century in order to understand the dramatic art of the period and the context in which Garcia Lorca's plays were well received by critics and public. I also pay attention to the international, Spanish and Argentinean plays contemporary to Garcia Lorca's stay in Buenos Aires, focusing on those that Garcia Lorca saw performed, linking them with the poet's own final plays and studying the interactions between them. In the third chapter, I study the reasons for the success of Bodas de sangre, La zapatera prodigiosa and Mariana Pineda in the teatro Avenida in Buenos Aires, focusing on the reactions of critics, journalists and how Garcia Lorca's plays fit in the horizon of expectations of Buenos Aires audiences. In the fourth chapter, I study those writers and intellectuals who became friends with Garcia Lorca and those who left written testimonies about the life of the Spanish poet in Buenos Aires. Finally, in the fifth chapter I focus on texts for periodicals written by Argentinean intellectuals as a reaction to Garcia Lorca's assassination, paying special attention to the image of the poet that those intellectuals offered, mainly related to his political thinking and his former status as ―representante de la nueva España‖. In conclusion, I try to offer an overview and an explanation for the importance of this stage, his stay in Buenos Aires in Garcia Lorca's life, works and myth.
Note: Abstract extracted from PDF text
