ffd8ffe000104a46494600010201004c004c0000ffe20c584943435f50524f46494c4500 010100000c484c696e6f021000006d6e74725247422058595a2007ce00020009000600 310000616373704d53465400000000494543207352474200000000000000000000000 00000f6d6000100000000d32d48502020000000000000000000000000000000000000 000000000000000000000000000000000000000000000000000000000011637072740 00001500000003364657363000001840000006c77747074000001f000000014626b70 7400000204000000147258595a00000218000000146758595a0000022c00000014625 8595a0000024000000014646d6e640000025400000070646d6464000002c400000088 767565640000034c0000008676696577000003d4000000246c756d69000003f800000 0146d6561730000040c0000002474656368000004300000000c725452430000043c00 00080c675452430000043c0000080c625452430000043c0000080c746578740000000 0436f70797269676874202863292031393938204865776c6574742d5061636b617264 20436f6d70616e7900006465736300000000000000127352474220494543363139363 62d322e31000000000000000000000012735247422049454336313936362d322e3100 0000000000000000000000000000000000000000000000000000 While Lorca’s public life is well documented, biographers are less certain about precise details concerning Lorca’s private life.The reason for this is that Lorca was gay, and the frank disclosure of such a fact during his time would have substantially endangered his career and social position. Lorca was assassinated in 1936 just outside of Granada.The Spain of the early 1930s was a country uneasily negotiating the shift from monarchical, parliamentary traditionalism to full democracy and cultural liberalism.The political and social situation in Spain was as beleaguered and chaotic as that which characterised European politics and society, in general, at the time.The continent as a whole was struggling with the effects of lingering post-WW I economic depression as well as the rise of fascism in Italy, Germany, and Spain.The fascist army general Francisco Franco was gaining support in Spain, primarily from those who feared substantive change in either cultural or political terms. It was supporters of right-wing leaders such as Franco who saw Lorca and others as threats to the traditionalism and dictatorial society and law they wished to impose upon the Spanish nation. Lorca was arrested on August 16, 1936, and shot on either August 18th or 19th.
ffd8ffe000104a4649460001 0201009500950000ffe20c58 4943435f50524f46494c4500 010100000c484c696e6f021 000006d6e74725247422058 595a2007ce0002000900060 0310000616373704d534654 00000000494543207352474 HISTORICAL CONTEXT 20000000000000000000000 000000f6d6000100000000d The True Story 32d48502020000000000000 00000000000000000000000 The Spanish title is Bodas de Sangre, or 'Wedding of Blood'.The 00000000000000000000000 title and theme came from a murder committed in 1928 in the 00000000000000000000000 town of Nijar in the Spanish province of Almería, when a young 00000000000001163707274 woman, Francisca Cañada Morales, ran off with her cousin, 00000150000000336465736 Francisco Montes Cañada, moments before her wedding to a local 3000001840000006c777470 man.The cousin was then shot dead by the prospective 74000001f000000014626b7 bridegroom's brother. Lorca read about the incident in the Heraldo 07400000204000000147258 de Madrid newspaper and kept the cutting until he came to write 595a0000021800000014675 the play in 1932. 8595a0000022c0000001462 58595a00000240000000146 A Nation Divided 46d6e640000025400000070 646d6464000002c40000008 Spain entered the twentieth century as a constitutional 8767565640000034c000000 monarchy.The Spanish populace, however, had little faith in this 8676696577000003d400000 regime as the country was hampered by persistent and grave 0246c756d69000003f80000 economic instability. Clearly, a change in the political and 00146d6561730000040c000 economic order of things was necessary.Widely opposed forces 00024746563680000043000 vied for contention. In various parts of the country, where 00000c725452430000043c0 industrialisation had taken place, workers determined to ensure 000080c675452430000043c their proper treatment and compensation and to enhance their 0000080c625452430000043 social status.These groups were eager to see a left-wing, socialist c0000080c74657874000000 government take the reins of Spain.These groups were forward00436f70797269676874202 looking in cultural terms.A society still imbued with classist 86329203139393820486577 notions, for example, was not a society able to accommodate a 6c6574742d5061636b61726 new working and middle class made up of former peasants who 420436f6d70616e79000064 would no longer tolerate the old class hierarchy.This old hierarchy 65736300000000000000127 heavily favoured the aristocracy and educated classes.These new 35247422049454336313936 social groups were also staunchly anti-monarchical, and they were 362d322e310000000000000 also secular in view.To the opposing groups of Spaniards, these 00000000012735247422049 forces of change represented a drastic and fearful break from 454336313936362d322e310 centuries of tradition, whether in social, cultural, or political 00000000000000000000000 terms.These other groups wished to maintain a traditional class 00000000000000000000000 structure, the succession of kings and queens, and the Catholic 0000000 Church as a centrally shaping social and educational force. Lorca was on the side of change. His relations with the left-wing government voted into power in 1931 were cordial. Its Minister of Education, Fernando de los Rios, funded the theatre project of which Lorca was artistic director (the project was called La Barraca).
Blood Wedding
The Democratic Republic Versus the Dictatorship The political scene in Spain was highly changeable during the late 1920s and early 1930s.A leftwing government, elected in 1931, was voted in again in 1936 after a brief return to a right-wing government in between. But Spain seemed determined to change, to try to negotiate the difficulties of modifying political and cultural institutions shaped for centuries by attitudes and beliefs no longer viable.This effort was effectively halted, however, as one of the leaders of Spain’s traditionalist factions staged a coup d’etat, or overthrow of the government, in 1936.This army general, Francisco Franco, was funded by fellow European nationalist and fascist leaders Adolf Hitler and Benito Mussolini.A bloody three-year civil war ensued, with the forces of Franco finally winning.As Lorca was clearly aligned with the forces of change, he was an obvious political target at the time. He declared his solidarity with workers and the republic on a number
of public occasions. His murder was an act of terror, designed to quell the spirit of those who contested Franco’s right to claim power by force instead of by election.The Civil War attracted a number of foreigners, both men and women alike, sympathetic to the Republic. In democratic regimes around the world, the Republican effort would come to be known as “The Good Fight.”
ffd8ffe000104a4649460001 0201009500950000ffe20c58 4943435f50524f46494c4500 010100000c484c696e6f021 000006d6e74725247422058 595a2007ce0002000900060 Act I 0310000616373704d534654 00000000494543207352474 The play opens in the home of the Mother and Bridegroom. It is 20000000000000000000000 learned that her husband and other son met violent ends, 000000f6d6000100000000d presumably in a feud.They also discuss the son’s upcoming 32d48502020000000000000 betrothal and marriage, until he leaves for work at his vineyard. A 00000000000000000000000 neighbour woman arrives and provides information concerning the 00000000000000000000000 Bride and her family. She confirms the mother’s suspicions 00000000000000000000000 regarding the Bride having had an earlier love, and it turns out 00000000000001163707274 that this love, Leonardo, is from the family whose members are 00000150000000336465736 responsible for the deaths of her husband and son.The second 3000001840000006c777470 scene takes place at Leonardo’s house. Leonardo’s wife and 74000001f000000014626b7 mother-inlaw are rocking a baby to sleep. Leonardo’s wife asks 07400000204000000147258 him why his horse is always tired these days; she says he has 595a0000021800000014675 been seen “on the far side of the plains,” which is where the Bride 8595a0000022c0000001462 lives. Leonardo denies that he has been riding in that vicinity, and 58595a00000240000000146 the subject of conversation shifts to the upcoming marriage of the 46d6e640000025400000070 Bride and Bridegroom.The third and final scene of Act I takes place 646d6464000002c40000008 at the Bride’s home.The mother of the Bridegroom and the father 8767565640000034c000000 of the Bride formalise the match, each praising the worthiness of 8676696577000003d400000 their offspring.The Bride is demure and reticent in company, but 0246c756d69000003f80000 once alone with the Servant she expresses her true frame of mind, 00146d6561730000040c000 which is impatient and frustrated.The Servant asks her if she 00024746563680000043000 heard a horse at the house the night before, and the Bride says 00000c725452430000043c0 no. But, at this point, a horse is heard and both see that it carries 000080c675452430000043c Leonardo. 0000080c625452430000043 c0000080c74657874000000 Act II 00436f70797269676874202 86329203139393820486577 Act II takes place at the Bride’s house on the day of the 6c6574742d5061636b61726 wedding.Young girls and others appear singing and chanting 420436f6d70616e79000064 wedding songs. Leonardo and his wife and mother-in-law are the 65736300000000000000127 first guests to arrive, and soon Leonardo and the Bride are 35247422049454336313936 speaking heatedly. He declaims against her marriage, their 362d322e310000000000000 continued separation, and the disaster of their never having 00000000012735247422049 married. She replies that she is marrying to finally bury the past 454336313936362d322e310 and the memory of him. By the second scene of Act II the guests 00000000000000000000000 have returned from the marriage ceremony.The wedding 00000000000000000000000 celebration is set to begin. In the midst of a large gathering, the 0000000 mother and father speak of Leonardo, noting his family’s reputation for violence. Soon, the overwhelmed Bride announces her wish to rest for a time.When the Bridegroom goes to find her a bit later, she is nowhere to be found. It is discovered that the lovers have fled.A party with the Bride-groom at its head is formed to seek out the lovers and exact revenge for their transgression.
Blood Wedding
Act III Act III takes place mostly in a forest.This is as far as the lovers have managed to flee by the time the party catches up with them.Three woodcutters open the scene, commenting on the terrible events. Death and the Moon also appear in this scene, both looking forward to what will be, inevitably, somebody’s death. Death, as a beggar woman, points the way to the lovers for the Bridegroom. In the meantime, the Bride encourages Leonardo to escape without her, as their horse is unable to carry them both. She knows that they will try to kill him. He refuses to leave her.With the stage directions having indicated the lovers’ exit and the Moon’s entrance, two shrieks are heard.At the sound of the second shriek, Death appears and moves to centre stage with her back to the audience. She spreads out her arms such that a great cape
unfurls.This impressive sight ends the second scene of Act III.The final scene of the play opens with two girls winding a skein of red wool. Confusion reigns with various characters appearing and asking for definitive news about the hunt for the lovers. Finally, the Mother is apprised of the terrible truth; her last son is dead at the hands of Leonardo. Leonardo is also dead.The Bride appears, dejected, asking for death. The Mother barely registers her presence as she announces her final descent into inconsolable pain and suffering.
ffd8ffe000104a4649460001 0201009500950000ffe20c58 4943435f50524f46494c4500 010100000c484c696e6f021 000006d6e74725247422058 595a2007ce0002000900060 0310000616373704d534654 Style 00000000494543207352474 20000000000000000000000 Setting 000000f6d6000100000000d 32d48502020000000000000 Lorca’s stage directions indicate settings that are simple, stark, 00000000000000000000000 and highly symbolic.The play opens within the house of the 00000000000000000000000 Bridegroom in a room that is painted yellow.The Bridegroom will 00000000000000000000000 be associated with yellow throughout the play.This colour 00000000000001163707274 symbolises his wealth, since gold is yellow, and his vigour, since 00000150000000336465736 yellow is the colour of wheat, from which bread, the food of life, 3000001840000006c777470 comes. It also symbolises his eventual death, since yellow is the 74000001f000000014626b7 colour of his lips when he is dead at the play’s end. Leonardo’s and 07400000204000000147258 the Bride’s homes, however, are characterised by the colour pink, 595a0000021800000014675 a variant on red which is the colour of passion and of vibrant life 8595a0000022c0000001462 (or blood).They are, certainly, the characters who are the most 58595a00000240000000146 passionate in the drama.The final scene takes place in a stark 46d6e640000025400000070 white dwelling, as if to suggest a place bleached of life and 646d6464000002c40000008 hope.The stage directions say that the room’s white lineaments 8767565640000034c000000 should resemble the architecture of a church.A church is the place 8676696577000003d400000 where the rituals of birth and death are routinely commemorated; 0246c756d69000003f80000 hence, it is an appropriate place for the mother to learn of her last 00146d6561730000040c000 son’s demise and to accept her future drained of happiness. In 00024746563680000043000 contrast to these dwellings, is the forest to which the lovers 00000c725452430000043c0 flee.The forest has long been that setting in literature where 000080c675452430000043c society’s rules mutate, change, break down, or no longer apply. It 0000080c625452430000043 is a wild place, beyond human-made, communal order.These c0000080c74657874000000 lovers, clearly, cannot be together within their community, and so 00436f70797269676874202 their only recourse is to attempt to escape its bounds.Their true 86329203139393820486577 home, in some sense, therefore, is this forest. 6c6574742d5061636b61726 420436f6d70616e79000064 Modernism 65736300000000000000127 35247422049454336313936 The movement in the arts known as Modernism was an 362d322e310000000000000 international, metropolitan set of movements. Impressionism and 00000000012735247422049 Dadaism in the arts, stream-of-consciousness techniques in the 454336313936362d322e310 novel, and atonality in music are some of its central artistic 00000000000000000000000 movements and forms. It was announced very vigorously by 00000000000000000000000 Picasso’s strange Cubist paintings, for example, that instead of 0000000 painting people how they seemed in real life, painted them with three eyes, two heads (or one head seen from different perspectives), and so forth. Other modernist movements were Symbolism and Surrealism, to which Lorca was close. Lorca’s play is a modernist play. Like Picasso’s paintings, it departs from realism, or the highly naturalistic and realistic sets, plots, and action that dominate European and Spanish theatre in the decades immediately preceding this set of movements. Lorca’s modernism entails the attempt to return the “drama” to drama by making the theatrical event into a feast for the senses and the deepest emotions.The stark settings, the chanting, and the songs and music all contribute to an event which is designed to move an audience through all of the visual, aural, and dramatic means available to the dramatist.
Blood Wedding
Chorus A chorus in a play is made up of a group of commentators, chanters, or singers not directly involved in the play’s action.The chorus’s role is either to comment on the action, to present the views of the community regarding the events, or, simply, to lyrically accompany action. Choruses of all of these types were common in Classical-age Greek plays. Lorca’s play adapts
from this tradition.A single girl, or a pair or groups of young girls, for example, will enter and circulate at various points, singing or chanting songs and commentary. In the final scene of the play, two young girls sing about how brief mortal life is and what might have happened at the wedding.Their contribution is primarily a lyrical accompaniment to the action, as the mother waits in fear to hear about the fate of her son.
ffd8ffe000104a4649460001 0201009500950000ffe20c58 4943435f50524f46494c4500 010100000c484c696e6f021 000006d6e74725247422058 595a2007ce0002000900060 0310000616373704d534654 00000000494543207352474 20000000000000000000000 000000f6d6000100000000d Themes 1 32d48502020000000000000 00000000000000000000000 Death 00000000000000000000000 00000000000000000000000 There are two ways the theme of death is developed in this play. 00000000000001163707274 First, there is death as the end, and the enemy, of mortal life. 00000150000000336465736 Death as an inevitable end that must be accepted is developed 3000001840000006c777470 through the character of the Mother, who often laments the 74000001f000000014626b7 deaths of loved ones, while stoically enduring these painful losses 07400000204000000147258 nevertheless.There is more to this first theme of death than 595a0000021800000014675 death’s inevitability, however.The passionate bond of the lovers 8595a0000022c0000001462 gives shape to another aspect.Their bond represents human life in 58595a00000240000000146 general as being characterised by our connections to others. 46d6e640000025400000070 Death, therefore, kills not only our physical body, it also puts an 646d6464000002c40000008 end to that which makes us human. In claiming a person’s life, 8767565640000034c000000 Death sunders human bonds. Lorca introduces and develops this 8676696577000003d400000 of death in the actions of his characters. For example, it is learned 0246c756d69000003f80000 at the play’s outset that the Mother’s husband and one son were 00146d6561730000040c000 violently killed. One way the Mother mourns these events is by 00024746563680000043000 pointing to the fact that the killers reside seemingly content in 00000c725452430000043c0 jail. Not only do the killers escape real punishment, but she, the 000080c675452430000043c wholly innocent one, is the one being punished by having been 0000080c625452430000043 deprived of her loved ones, and they, the loved ones, are being c0000080c74657874000000 punished by having been deprived of their share of life. Death 00436f70797269676874202 does not simply end life, it is anathema to it by destroying 86329203139393820486577 precious connections. Hence the play’s characterisation of death 6c6574742d5061636b61726 as a cruel and cold beggar woman who acts as the lovers’ 420436f6d70616e79000064 “enemy” by revealing their whereabouts to the hunters. 65736300000000000000127 35247422049454336313936 If death is anathema to life, then being deprived of a full life is like 362d322e310000000000000 death-in-life.The theme of death-in-life is generally most closely 00000000012735247422049 associated with the female characters, although it is also closely 454336313936362d322e310 associated with Leonardo and the Bride, in particular. It is linked to 00000000000000000000000 Leonardo and the Bride since, to them, not to be able to love each 00000000000000000000000 other is not to live fully. Hence, at the end of the play, both would 0000000 prefer death than endure the death-in-life of separation.As the First Woodcutter says,“Better dead with the blood drained away than alive with it rotting.” In terms of the female characters, the theme of death-in-life takes on broader connotations.Women as beings whose lives occur behind “thick walls” is underscored throughout the play. For example, at one point in the play, the Mother asks the Bride:“Do you know what it is to be married, child?” The Bride says she does but the Mother emphasises her point anyway:“A man, some children, and a wall two yards thick for everything else.” Their lives, in the private realm of the home, is like life within a thick-walled coffin. It is a death-in-life because these exaggerated limits on women’s social roles prevents them from pursuing all of the joys and varieties life has to offer.The men come and go; but the women are mostly at home.While the women are depicted as having many responsibilities and solid social stature, they are nevertheless firmly excluded from deciding how the community is run and what its rules, laws, and traditions will be.The stark separation of male and female spheres no longer seems like fairly divided work when the differing nature of the work is considered. If women cannot contribute to making the rules, then the rules might not accommodate their needs. If their needs are not accommodated then they cannot live fully and must live a death-in-life.
Blood Wedding
ffd8ffe000104a46494600010201009600960000ffe20c584943435f50524f46494c4500010100 000c484c696e6f021000006d6e74725247422058595a2007ce00020009000600310000616373 704d5346540000000049454320735247420000000000000000000000000000f6d6000100000 000d32d48502020000000000000000000000000000000000000000000000000000000000000 000000000000000000000000000000000011637072740000015000000033646573630000018 40000006c77747074000001f000000014626b707400000204000000147258595a00000218000 000146758595a0000022c000000146258595a0000024000000014646d6e6400000254000000 70646d6464000002c400000088767565640000034c0000008676696577000003d4000000246 c756d69000003f8000000146d6561730000040c0000002474656368000004300000000c72545 2430000043c0000080c675452430000043c0000080c625452430000043c0000080c746578740 0000000436f70797269676874202863292031393938204865776c6574742d5061636b6172642 0436f6d70616e790000646573630000000000000012735247422049454336313936362d322e 31000000000000000000000012735247422049454336313936362d322e31000000000000000 000000000000000000000000000000000000000 manner in which, in some deep sense, there are no real individuals in societies, insofar as individualism entails total self-determination. In other words, to live in harmony with other humans, human beings in fact conform to a limited number of roles and possibilities that accord with the rules and agreements of social living and life. Hence, it is only Leonardo, who contests these rules, who can be individualised by being given a proper name.The play’s development of this problem gives credence to those critics who see the play as a criticism of sectors of Spanish society unwilling to countenance change.These views will ring true as long as there is a need for persons to assert themselves against their society when its institutions or laws do not allow for the reasonable happiness and creativity of its members. Since the play generates sympathy for the passion of the lovers, it can be seen to generate sympathy for the forces of change. Duel Imagery & 'Blood Wedding' Dualism: opposed or contrasted aspects; the state of being divided. This is the elemental force that drives all the characters. The images within the play strongly oppose each other, all of which are centred around two forces - life & death. There is an irresolvable tension in these two forces - death is inevitable. All the other images that Lorca uses are tense but resolvable, but always come back to this main theme of life & death. e.g. the knife versus blood - the knife = death, - blood = life. These images re-occur within Lorca's plays, to make us constantly emotionally involved; intensifying our emotions so that we feel the push and pull of forces upon the characters. This occurs because Andalusian culture had very strong association with the images, such as the horse symbolising male power & sexuality. The audience would, therefore, respond emotionally to the image. All the images within the play are those that were common in Andalusian culture. The imagery was the most direct way that Lorca could gain the audience’s emotional response.
ffd8ffe000104a46494600010201009600960000ffe20c584943435f50524f46494c450001010 0000c484c696e6f021000006d6e74725247422058595a2007ce000200090006003100006163 73704d5346540000000049454320735247420000000000000000000000000000f6d60001000 00000d32d48502020000000000000000000000000000000000000000000000000000000000 00000000000000000000000000000000000001163707274000001500000003364657363000 001840000006c77747074000001f000000014626b707400000204000000147258595a000002 18000000146758595a0000022c000000146258595a0000024000000014646d6e6400000254 00000070646d6464000002c400000088767565640000034c0000008676696577000003d4000 000246c756d69000003f8000000146d6561730000040c000000247465636800000430000000 0c725452430000043c0000080c675452430000043c0000080c625452430000043c0000080c7 465787400000000436f70797269676874202863292031393938204865776c6574742d506163 6b61726420436f6d70616e79000064657363000000000000001273524742204945433631393 6362d322e31000000000000000000000012735247422049454336313936362d322e3100000 0000000000000000000000000000000000000000000000000 unusually broad range of the theatre resources.Also impressive was its consistent high seriousness, and its almost classical delineation of the tragic conflict. What people were least prepared for was the mixture of realism and poetic symbolism. Lorca had established the tragic potential of the action during the first two acts in an identifiable social context where social dissonance and contradictions were driving the action towards a tragic crisis. The problem of mixing prose and poetry throughout the play had been an over-riding concern of Lorca's in rehearsals, and he tirelessly worked with the cast to maintain a single principle: to make the transitions from prose to poetry as natural; as possible by avoiding the declamatory style of acting that was the dominant technique on the stage at the time. "Symbols are the key element of the mythical Lorcian universe.They basically reproduce the essential underlying conflict behind all of the ffd8ffe000104a4649460001020100480048 mythologies about life and death. Their multiple, 0000ffe20c584943435f50524f46494c45000 irrational meanings allow the reader an 10100000c484c696e6f021000006d6e74725 interpretive freedom that enriches the text with 247422058595a2007ce0002000900060031 infinite connotations" Rafael Alberti. 0000616373704d534654000000004945432 07352474200000000000000000000000000 “great art depends upon a vivid awareness of death, 00f6d6000100000000d32d4850202000000 connection with a nation's soil, and an 00000000000000000000000000000000000 acknowledgment of the limitations of reason,” Lorca 00000000000000000000000000000000000 00000000000000000001163707274000001 500000003364657363000001840000006c7 7747074000001f000000014626b70740000 0204000000147258595a000002180000001 46758595a0000022c000000146258595a00 00024000000014646d6e640000025400000 070646d6464000002c40000008876756564 0000034c0000008676696577000003d4000 000246c756d69000003f8000000146d6561 730000040c0000002474656368000004300 000000c725452430000043c0000080c6754 52430000043c0000080c625452430000043 c0000080c7465787400000000436f7079726 9676874202863292031393938204865776c 6574742d5061636b61726420436f6d70616 e7900006465736300000000000000127352 47422049454336313936362d322e3100000 00000000000000000127352474220494543 36313936362d322e3100000000000000000 00000000000000000000000000000000000 00
ffd8ffe000104a4649460001 ffd8ffe000104a46494600010201004c0 0201009500950000ffe20c58 04c0000ffe20c584943435f50524f46494 4943435f50524f46494c4500 c4500010100000c484c696e6f02100000 010100000c484c696e6f021 6d6e74725247422058595a2007ce0002 000006d6e74725247422058 0009000600310000616373704d534654 595a2007ce0002000900060 00000000494543207352474200000000 0310000616373704d534654 00000000000000000000f6d600010000 00000000494543207352474 0000d32d485020200000000000000000 20000000000000000000000 00000000000000000000000000000000 000000f6d6000100000000d Flamenco and Dance 00000000000000000000000000000000 32d48502020000000000000 00000000000000000000000 00000000000000116370727400000150 Flamenco is the traditional song and dance of the 00000000000000000000000 0000003364657363000001840000006c Gypsies (flamencos) of Andalusia in southern Spain. 00000000000000000000000 The art form developed over several centuries from 77747074000001f000000014626b7074 00000000000001163707274 00000204000000147258595a00000218 Gypsy, Moorish,Andalusian, and other roots. 00000150000000336465736 Flamenco music and dance became popular in the 000000146758595a0000022c00000014 3000001840000006c777470 6258595a0000024000000014646d6e64 early 19th century as café entertainment. 74000001f000000014626b7 0000025400000070646d6464000002c4 07400000204000000147258 Canto (“song”) 00000088767565640000034c00000086 595a0000021800000014675 is the core of 76696577000003d4000000246c756d69 8595a0000022c0000001462 flamenco, and 000003f8000000146d6561730000040c 58595a00000240000000146 like baile 0000002474656368000004300000000c 46d6e640000025400000070 (“dance”), it has 646d6464000002c40000008 725452430000043c0000080c67545243 three forms: 8767565640000034c000000 0000043c0000080c625452430000043c grande or 8676696577000003d400000 hondo (“grand” 0000080c7465787400000000436f7079 0246c756d69000003f80000 or “deep”), 72696768742028632920313939382048 00146d6561730000040c000 intense, 65776c6574742d5061636b6172642043 00024746563680000043000 profound songs, 6f6d70616e7900006465736300000000 00000c725452430000043c0 tragic in tone, 00000012735247422049454336313936 000080c675452430000043c and imbued 362d322e310000000000000000000000 0000080c625452430000043 with duende, 12735247422049454336313936362d32 c0000080c74657874000000 the 2e310000000000000000000000000000 00436f70797269676874202 transformation 00000000000000000000000000 86329203139393820486577 of the musician 6c6574742d5061636b61726 by the depth of the emotion; intermedio (“intermediate”), 420436f6d70616e79000064 moderately serious, the music sometimes Oriental65736300000000000000127 sounding; and pequeño (“small”), light songs of exuberance, 35247422049454336313936 love, and nature. Individual genres include the light bulerías; 362d322e310000000000000 the more serious soleares and its lighter descendant, the 00000000012735247422049 alegrías; the fandangos 454336313936362d322e310 grandes, a serious adaptation of a lighter non-Gypsy genre; 00000000000000000000000 the malagueñas, an offshoot of the fandangos; and cantos 00000000000000000000000 grandes such as the siguiriyas gitanas and saetas. Both text and 0000000 melody of these songs, like the flamenco dance, are improvised within traditional structures such as characteristic rhythms and chords. Zapateado, intricate toeand heel-clicking steps, characterises the men's dance; the traditional women's dance is based more on grace of body and hand movement. The baile grande, especially, is believed to retain elements of the dance of India, where the Gypsies originated. Castanets, found in Andalusian dance, are not traditional to flamenco. Song and dance may be accompanied by jaleo, rhythmic finger snapping, hand clapping, and shouting. In the 19th century, guitar accompaniment became common for many genres, and guitar solos also developed. In the 20th century, commercial pressure distorted much traditional flamenco dance. Blood Wedding shows clearly how the simple tragic tale is as one with the spirit of flamenco; with its pain, with its passions;with its withheld eroticism.
Blood Wedding
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000000000000000000000 Blood Wedding 000000000000000000000 000000000000000000001 PLOT SUMMARY 163707274000001500000 003364657363000001840 Act 1 Scene 1 000006c77747074000001 Mother has a feud with the Felixes; her husband and son f000000014626b7074000 murdered; the second son is now getting married; bride (to be) 00204000000147258595a has been Leonardo (Felix)'s girlfriend; Bride's mother appears to 000002180000001467585 have been unfaithful. 95a0000022c0000001462 58595a000002400000001 Act 1 Scene 2 4646d6e64000002540000 Mother-in-law and Wife sing a symbolic lullaby; we are introduced 0070646d6464000002c40 to Leonardo; Wife asks him about where he's been; there is an 000008876756564000003 argument about the horse; a girl brings news about the wedding 4c0000008676696577000 and the luxuries the Bridegroom's family have bought; Leonardo storms off; the baby wakes, lullaby repeated 003d4000000246c756d69 000003f8000000146d656 Act 1 Scene 3 1730000040c0000002474 Mother meets Father (of Bride) & the Bride herself at the cave 656368000004300000000 house four hours away; Very formal; like a business meeting; Talk c725452430000043c0000 is about land, money and the qualities of children - almost like a 080c675452430000043c0 slave auction; gifts; uncomfortable hospitality; Mother and 000080c62545243000004 Bridegroom leave (as the Father shows them out) and the Bride 3c0000080c74657874000 fights with servant about i) the presents, and ii) Leonardo's visits 00000436f707972696768 on horseback; the scene ends with the sound of (Leonardo's) horse 742028632920313939382 whinnying. 04865776c6574742d5061 636b61726420436f6d706 Act 2 Scenes 1 and 2 Hair do in the dawn; Leonardo arrives early; we learn about 16e790000646573630000 Leonardo's poverty having stopped his marriage to the Bride; 000000000012735247422 Bride really still wants Leonardo, though she tries to suppress that 049454336313936362d32 feeling; Leonardo expresses his love for the Bride; Servant is 2e3100000000000000000 appalled by their informality and by what they are saying; 000001273524742204945 Leonardo and Bride act out a (false) farewell; we can tell through 4336313936362d322e310 the introduction of the (singing) guests that society expects her to 000000000000000000000 marry. The servant prepares the wedding feast while the others 000000000000000000000 have gone to the church; after the guests return, the tension gradually increases, with people crossing and recrossing the stage, 00000000000
until the climax is reached when the Wife screams out that Leonardo and the Bride have fled on the horse; the Mother instigates the chase. Act 2 Scene 3 Leonardo and the Bride are running away, pursued by the Bridegroom; In the moonlight, both Leonardo and Bridegroom die in a knife-fight.
ffd8ffe000104a4649460001 0201009500950000ffe20c58 4943435f50524f46494c4500 010100000c484c696e6f021 000006d6e74725247422058 595a2007ce0002000900060 0310000616373704d534654 00000000494543207352474 20000000000000000000000 000000f6d6000100000000d IDEAS FOR TEACHING 1 32d48502020000000000000 00000000000000000000000 Drama 00000000000000000000000 00000000000000000000000 Devising actions to accompany text requires an understanding of 00000000000001163707274 what is really going on. In Blood Wedding, the Mother's opening 00000150000000336465736 lines, for example, are, on the face of it pretty meaningless; what 3000001840000006c777470 she wants is simply to hold her son in conversation long enough 74000001f000000014626b7 for him to bring up the question of his marriage. Or at least, this 07400000204000000147258 could be one interpretation. 595a0000021800000014675 8595a0000022c0000001462 Finding "actions" to accompany the text then is an important start 58595a00000240000000146 to the process of converting script to performance. Some directors 46d6e640000025400000070 call this "actioning the text". Ask yourself: what is the playwright's 646d6464000002c40000008 aim in this scene? 8767565640000034c000000 Ask yourself: what would my aim as a director be in presenting 8676696577000003d400000 this scene for performance? Start writing letters to Lorca.While 0246c756d69000003f80000 Stanislavsky worked on Chekhov's plays, notably Three Sisters and 00146d6561730000040c000 00024746563680000043000 The Cherry Orchard, he constantly wrote to Chekhov, then living in 00000c725452430000043c0 the Crimea, to ask for advice and elucidation regarding the text. 000080c675452430000043c (In his replies, Chekhov was often frustrated by the director's 0000080c625452430000043 inability to see things as subtly as he himself did!) c0000080c74657874000000 If you were directing this scene, what observations would you 00436f70797269676874202 make to its author, Lorca, if you were able? What issues does it 86329203139393820486577 raise which engage your interest? How and where would you 6c6574742d5061636b61726 congratulate Lorca for specific achievements? What problems 420436f6d70616e79000064 does the opening scene raise? 65736300000000000000127 35247422049454336313936 362d322e310000000000000 Flamenco 00000000012735247422049 454336313936362d322e310 Blood Wedding was adapted into a film in 1981.The film, directed 00000000000000000000000 by Carlos Saura, tells the story through a stylised form of 00000000000000000000000 flamenco dance (a flamenco troupe was used in the film).The film 0000000 is in Spanish, but subtitled versions are available
Blood Wedding
Try comparing Blood Wedding on the stage with Carlos Saura’s 1981 film. Curiously, perhaps, Saura declines to present Act 3.There are no Woodcutters; Scene One is reduced to a stylised knife-fight.There is no mourning: Scene Two is reduced to one despairing gesture from the Bride. Using flamenco music and ideas from the film, devise mime or dance performances of Scenes One and Two from Act Three.
ffd8ffe000104a4649460001 0201009500950000ffe20c58 4943435f50524f46494c4500 010100000c484c696e6f021 000006d6e74725247422058 595a2007ce0002000900060 0310000616373704d534654 IDEAS FOR TEACHING 2 00000000494543207352474 20000000000000000000000 Creating a Monologue 000000f6d6000100000000d 32d48502020000000000000 Take the idea of removing all the lines of a character and piecing 00000000000000000000000 them all together to create a monologue. This could be done with 00000000000000000000000 the character of the Mother to increase understanding of the 00000000000000000000000 thoughts and feelings of that character. This is a task that would 00000000000001163707274 also work well with playwrights such as Chekhov who often 00000150000000336465736 isolates his characters in their dialogue. They appear to converse 3000001840000006c777470 but are often so absorbed in their own tales that nobody actually 74000001f000000014626b7 listens. Some characters are still talking of the same things 07400000204000000147258 throughout the play while the other characters are oblivious. 595a0000021800000014675 8595a0000022c0000001462 Looking beyond the Surface of the Dialogue 58595a00000240000000146 46d6e640000025400000070 Take a couple of lines at a time and discuss all the different ways 646d6464000002c40000008 in which those couple of lines could be delivered. This task will 8767565640000034c000000 encourage the pupils to think more deeply about the content 8676696577000003d400000 within the dialogue of the scene and the various possible 0246c756d69000003f80000 subtexts that could be bubbling beneath the surface. 00146d6561730000040c000 00024746563680000043000 Communicating with Body Language 00000c725452430000043c0 000080c675452430000043c There is a practical extension of this: Act out a scene in which two 0000080c625452430000043 people play the same character simultaneously. One plays the c0000080c74657874000000 actual action and meaning of dialogue whilst the other plays the 00436f70797269676874202 subtext. This can be used to help pupils consider how they can 86329203139393820486577 6c6574742d5061636b61726 communicate subtext and tension through their body language 420436f6d70616e79000064 and movements without altering dialogue. All these skills will 65736300000000000000127 hopefully contribute to an improved piece of drama. 35247422049454336313936 362d322e310000000000000 Music and Passion 00000000012735247422049 454336313936362d322e310 Look at Lorca’s love of the Spanish Flamenco – a passionate 00000000000000000000000 dance about temptation. Though this is not specified in the text, 00000000000000000000000 any opportunity to see Flamenco performed (better in reality but on video would suffice) would help the pupils to understand the 0000000 depth of emotion that Lorca would have wanted to be apparent from the movements of his players.
Blood Wedding
Essay Suggestions Which character do you sympathise with most? There is a lot of symbolism in Blood Wedding. In what way is Leonardo’s character symbolic? How is symbolism used in Blood Wedding. How far is each character a symbol? How would you stage Act 3 of Blood Wedding? What problems would there be? How does the writer use choral devices to effect? In what way are the woodcutters a chorus? How is the role of the Mother investigated in the play? Reread the last three pages of Blood Wedding. How far do you think Mother and Bride are reconciled at the end? How does staging contribute to meaning? Sources: Notes on Drama Blood Wedding on Answers.com.Notes on Drama Copyright © 2006 by Answers
Corporation. PGCE English with Drama Coursebook, 2002-2003, Univ. of Gloucester. eNotes.com/BloodWedding.
ffd8ffe000104a464946000102 01009500950000ffe20c584943 435f50524f46494c4500010100 000c484c696e6f021000006d6e 74725247422058595a2007ce0 0020009000600310000616373 704d534654000000004945432 0735247420000000000000000 000000000000f6d6000100000 000d32d485020200000000000 0000000000000000000000000 0000000000000000000000000 0000000000000000000000000 0000000001163707274000001 5000000033646573630000018 40000006c77747074000001f00 0000014626b70740000020400 0000147258595a00000218000 000146758595a0000022c0000 00146258595a0000024000000 014646d6e6400000254000000 70646d6464000002c40000008 8767565640000034c00000086 76696577000003d4000000246 c756d69000003f8000000146d6 561730000040c000000247465 6368000004300000000c72545 2430000043c0000080c675452 430000043c0000080c6254524 30000043c0000080c74657874 00000000436f7079726967687 4202863292031393938204865 776c6574742d5061636b61726 420436f6d70616e7900006465 7363000000000000001273524 7422049454336313936362d32 2e31000000000000000000000 0127352474220494543363139 36362d322e310000000000000 0000000000000000000000000 0000000000000000
Blood Wedding
rhythm which would set the tone of the play, these rhythms are very distinct and recognisable cultural reference of Andalucia , Southern Spain where Flamenco originates from. I was very adamant that my interpretation would aim to capture an authentic cultural voice I wanted to find were Lorca was coming from! So began the journey of visualising the whole, because it is impossible to imagine the whole thing in detail at the start of the process. I knew that I wanted to create a piece that would be driven by the text, the actor, the music, the visual image, the sound and to use the Brechtian technique of stepping in and out of character. I visualised an ensemble piece that has the versatility to move in any direction and drive the dynamic, the actors would also become a Greek chorus in parts as I was interested in the power of the Chorus in tragedy. Obviously I researched from books, the internet and libraries as one does, but this couldn’t give me all that I needed which was to experience Lorca’s culture first hand. So I travelled to Granada and Madrid to broaden my knowledge and to see with Lorca’s eyes. What is important to you as a director when creating a show like this? The important thing is to not be rigid with your thoughts and ideas to include all things from a colour or an image or a sound, however small, into your plan. I often find that if something has ignited my imagination i.e. the sound of a heel in the darkness, then this will lead me into the next idea and the next, this is what we call an organic process as things naturally evolve.
home/ family/ group of friends/ society. ffd8ffe000104a46494600010201004800480 ndividuals000ffe20c584943435f50524f46494c4500010 & relationships within the family and/or society. How might this exercise relate to the text? Which 100000c484c696e6f021000006d6e74725247 a scene taking these rules into consideration – show in some way that they perhaps doubt these rules 422058595a2007ce00020009000600310000 616373704d53465400000000494543207352 her: using47420000000000000000000000000000f6d6 metaphors & similes to express the rules. Consider the use of space to show status – mark your m 000100000000d32d48502020000000000000 within the000000000000000000000000000000000000 play? Introduction to the term 'poetic realism'. How does it enhance the play? 000000000000000000000000000000000000 eal?ism, symbolism 000000000011637072740000015000000033 64657363000001840000006c777470740000 01f000000014626b70740000020400000014 7258595a00000218000000146758595a0000 022c000000146258595a0000024000000014 646d6e640000025400000070646d64640000 02c400000088767565640000034c00000086 76696577000003d4000000246c756d690000 03f8000000146d6561730000040c00000024 74656368000004300000000c725452430000 043c0000080c675452430000043c0000080c 625452430000043c0000080c746578740000 0000436f7079726967687420286329203139 3938204865776c6574742d5061636b617264 20436f6d70616e7900006465736300000000 00000012735247422049454336313936362d 322e31000000000000000000000012735247 422049454336313936362d322e3100000000 000000000000000000000000000000000000 0000000000
ffd8ffe000104a4649460001 0201009500950000ffe20c58 4943435f50524f46494c4500 010100000c484c696e6f021 000006d6e74725247422058 595a2007ce0002000900060 0310000616373704d534654 00000000494543207352474 20000000000000000000000 000000f6d6000100000000d 32d48502020000000000000 What is involved in your process? 00000000000000000000000 00000000000000000000000 00000000000000000000000 Different approaches depending on the style of the piece, for 00000000000001163707274 example,Wall Talks in 2007 was a site specific piece created in The 00000150000000336465736 Tobacco Warehouses @ The Stanley Dock, Liverpool and the 3000001840000006c777470 process for this was dictated by and led by the site and its 74000001f000000014626b7 demands, as well as the stories that it had to tell. However, my 07400000204000000147258 creation process is always the same and involves a lot of research, 595a0000021800000014675 gathering of images, songs, music, stories, films around the subject 8595a0000022c0000001462 matter of the text.The next step is the preparation work with the 58595a00000240000000146 set designer for this I will tell them my vision (which is usually 46d6e640000025400000070 fragmented and includes all of the above!) to this they will add their 646d6464000002c40000008 ideas and begin their own process of gathering and shaping their 8767565640000034c000000 design, once we have an agreed outline of the basic design I will 8676696577000003d400000 bring in the lighting designer and they will begin their process and 0246c756d69000003f80000 so it goes on . . . 00146d6561730000040c000 00024746563680000043000 Working with the composer/ musician follows a similar process of 00000c725452430000043c0 gathering, sharing and filtering ideas as we go. For Blood Wedding 000080c675452430000043c we have the great opportunity to work with the master of 0000080c625452430000043 flamenco guitar, Juan Martin which is a dream come true, Juan c0000080c74657874000000 who was born in Andalucia possess a sensitivity and profoundly 00436f70797269676874202 deep understanding and connection with the world that Lorca 86329203139393820486577 portrays in Blood Wedding. Juan will share this with us in the 6c6574742d5061636b61726 rehearsal room and it will inform all the rhythms of the play not 420436f6d70616e79000064 only in the music and the dancing but also in the transitions, the 65736300000000000000127 35247422049454336313936 exchanges and the text. 362d322e310000000000000 As a director I will work out the mechanics of each scene and then 00000000012735247422049 pass that on to the actors who will then ‘play’ and usually 454336313936362d322e310 discover even better ways of telling the story.The following are 00000000000000000000000 also included in the creative process for Blood Wedding: 00000000000000000000000 Script read through Flamenco workshops everyday with 0000000 choreographer Mask and character work ( finding the physicality of
Blood Wedding
the character) Developing the chorus – choral work Developing the character Improvising – telling the truth of the story
ffd8ffe000104a46494600010201004c004c0000ffe20c584943435f50524f46494c45000101000 00c484c696e6f021000006d6e74725247422058595a2007ce0002000900060031000061637370 4d5346540000000049454320735247420000000000000000000000000000f6d6000100000000 d32d485020200000000000000000000000000000000000000000000000000000000000000000 0000000000000000000000000000001163707274000001500000003364657363000001840000 006c77747074000001f000000014626b707400000204000000147258595a0000021800000014 6758595a0000022c000000146258595a0000024000000014646d6e640000025400000070646d 6464000002c400000088767565640000034c0000008676696577000003d4000000246c756d69 000003f8000000146d6561730000040c0000002474656368000004300000000c7254524300000 43c0000080c675452430000043c0000080c625452430000043c0000080c746578740000000043 6f70797269676874202863292031393938204865776c6574742d5061636b61726420436f6d706 16e790000646573630000000000000012735247422049454336313936362d322e31000000000 000000000000012735247422049454336313936362d322e31000000000000000000000000000 000000000000000000000000000 The Alhambra Gypsy flamenco shows Performances by young experimentalist flamenco musicians and dancers Arabic Baths Granada Cathedral Catholic mass in Granada Surrounding villages We brought back lots of images and even a pomegranate from a tree in Lorca’s garden. Granada means pomegranate, an image whose poetic implications were not lost on Lorca.The fruit, he would write, is hard and skull-like on the outside, but inside it contains the “blood of the wounded earth” Olivia took over 500 photographs and I took video footage for reference, documentation and archive.We also brought back lots of postcards, leaflets, prints, and CD’s The director Carlos Saura has made 3 films Bodas de Sangre (Blood Wedding), Carmen and Flamenco and these have been part of mine and Olivia’s research, as well as the actors. In Madrid I went to the Lorca Fundacion and met with Lorca’s niece Laura Lorca who is the president of the foundation.The foundation is based in the institution that Salvador Dali, Luis Bunuel, Pablo Picasso and Lorca would have stayed at in Madrid. Here I discovered a more intimate portrait of Lorca told through his families eyes as well as gaining an understanding of the impact of his work throughout the world.
ffd8ffe000104a46494600010201009600960000ffe20c584943435f50524f46494c4500 010100000c484c696e6f021000006d6e74725247422058595a2007ce00020009000600 310000616373704d53465400000000494543207352474200000000000000000000000 00000f6d6000100000000d32d485020200000000000000000000000000000000000000 000000000000000000000000000000000000000000000000000000000116370727400 0001500000003364657363000001840000006c77747074000001f000000014626b7074 00000204000000147258595a00000218000000146758595a0000022c0000001462585 95a0000024000000014646d6e640000025400000070646d6464000002c40000008876 7565640000034c0000008676696577000003d4000000246c756d69000003f800000014 6d6561730000040c0000002474656368000004300000000c725452430000043c00000 80c675452430000043c0000080c625452430000043c0000080c7465787400000000436 f70797269676874202863292031393938204865776c6574742d5061636b61726420436 f6d70616e790000646573630000000000000012735247422049454336313936362d322 e31000000000000000000000012735247422049454336313936362d322e3100000000 0000000000000000000000000000000000000000000000 the first time. Next I will re-read and annotate the script breaking it down into units creating my own thorough synopsis of the play. I will generate a thematic breakdown noting music, nature, family, mood and imagery and a practical breakdown noting locations, furniture, big props, Character insights, small props, costumes and any technical references e.g.“the walls start to bleed”. In my copy of the script I also highlight other details such as time lines, and family trees of the characters involved. All of the above gives me plenty of scope to start the visual researching using a wide range of resources including libraries, Internet, books, magazines, museums, films etc… Sketchbooks get filled with ideas, mood boards and images. I find it useful to create a collage storyboard of the play containing the above elements to illustrate a coherent visual style and pace as reference for myself and as a tool to communicate with the Director; I can see the colours, shapes, textures and images that they are also drawn to.This process is combined with further research such as the trip to Granada. (The specific research I undertook is explained further in a later question) Alongside this research I undertake a technical exploration of the performance space detailing practical ffd8ffe000104a464946000102010048 00480000ffe20c584943435f50524f464 considerations relating to capabilities such as flying 94c4500010100000c484c696e6f02100 traps, sightlines etc… 0006d6e74725247422058595a2007ce I then start sketching set ideas looking into how the 00020009000600310000616373704d5 space will evolve throughout the piece. From these I 3465400000000494543207352474200 build a 3D 1: 25 scale model of the theatre and the 00000000000000000000000000f6d600 entire set design combining it with storyboards and 0100000000d32d48502020000000000 costume sketches to present a final design to the 0000000000000000000000000000000 Director. Eventually when the design is agreed I start 0000000000000000000000000000000 the Technical drawings and meetings with the 0000000000000000000000011637072 production team.The focus is on budget, construction, 7400000150000000336465736300000 practical considerations and scheduling which all inform 1840000006c77747074000001f000000 the continued modification of the design. 014626b707400000204000000147258 595a00000218000000146758595a000 0022c000000146258595a0000024000 000014646d6e6400000254000000706 46d6464000002c40000008876756564 0000034c0000008676696577000003d 4000000246c756d69000003f80000001 46d6561730000040c00000024746563 68000004300000000c7254524300000 43c0000080c675452430000043c0000 080c625452430000043c0000080c746 5787400000000436f707972696768742 02863292031393938204865776c6574 742d5061636b61726420436f6d70616e 7900006465736300000000000000127 35247422049454336313936362d322e 3100000000000000000000001273524 7422049454336313936362d322e3100 0000000000000000000000000000000 000000000000000000000
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Blood Wedding
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[email protected] Cut to the Chase Productions website is here.
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“They were denied”
deceivingthemselves,but the bloodcouldn’t be
Federico Garcia Lorca’s
25-29 Nov 2008 www.everymanplayhouse.com
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BL O O D W ED DI N G Cut to the Chase Produ ctions brings you one of the mosti nnova tive and power ful plays of the 20th centur y. A lovetriang le curse d with desire , despe ration and death in this classic maste rpiece telling the true story of a bride who must choos e betwe en the lover she desire s and the one societ y requir es. Poten t and poetic . Blood Weddi ng is huma n passio n set afire. Power
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chore ogra phy and live musi c from the mast er of flame nco
Guitar Player) in this highly physica l product ion from Cut to the Chase.
The Bridegr oom Sabina Frankly n Chris Hannon The Bride
Ted Hug hes
The Wife Jo Mousley
Direct ed by
Fed eric o Gar cia Lor ca Juan Martí n (twic e voted in the top 3 guita rists in the world US maga zine
Date s
Perfo rma nce Time s
The Mother
A d a pt e d b y
(Conces sions and standby tickets availabl e)
Tuesd ay 25 to Saturd ay 29 Novem ber
C as t
Leonard o Stavr os Dem etrak i
0
The Father Yasmin Bodalbhai Brian Dodd
E v e n i n g s :
0 p m M a t i n e e s : T h u r s d a y 1 . 3 0 p m , S a t 2 . 0 0
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Tick et Pric es £9.50 to £20.0
T u e s d a y – S a t u r d a y 7 . 3
p m Preview Prices Tuesday and Wednesd ay all seats £9.00 A f t e r s h o w D
i s c u s s i o n T h u r s d a y 2 7 N o v e m b e r ( E v e ) Page to Stage Work shop Thurs day 27 Nove mber 10.30 am – 12.15 pmSu itable 12+ £1.50 per perso n (with theat re ticket ) E d u c a t i o n R e s o u r c e P a c k a n
d W o r k s h o p s a v a i l a b l e
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Design & print by Hazeldine-Coltas Ltd
Jen Heyes Music composed and played live by ffd8ffe000104a46494600 01020100f6007b0000ffe20 c584943435f50524f46494 c4500010100000c484c696 e6f021000006d6e7472524 7422058595a2007ce0002 000900060031000061637 3704d5346540000000049 454320735247420000000 000000000000000000000f 6d6000100000000d32d48 502020000000000000000 000000000000000000000 000000000000000000000 000000000000000000000 000000000000000011637 072740000015000000033 646573630000018400000 06c77747074000001f0000 00014626b707400000204 000000147258595a00000 218000000146758595a00 00022c000000146258595 a0000024000000014646d 6e6400000254000000706 46d6464000002c4000000 88767565640000034c000 0008676696577000003d4 000000246c756d6900000 3f8000000146d656173000 0040c0000002474656368 000004300000000c72545 2430000043c0000080c67 5452430000043c0000080 c625452430000043c0000 080c74657874000000004 36f7079726967687420286 329203139393820486577 6c6574742d5061636b617 26420436f6d70616e79000 064657363000000000000 001273524742204945433 6313936362d322e310000 000000000000000000127 352474220494543363139 36362d322e31000000000 000000000000000000000 000000000000000000000 000
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Ma rtín Designer Lighting Olivia du Monceau Phil Saunders
