Lorcas El Maleficio De La Mariposa :: Lorca Maleficio Mariposa Essays

Lorcas El Maleficio De La MariposaFederico Garcia Lorca was a Spanish poet who explored general themesof bed, lust, death and violence under the semblance of whimsicaltragedies. The self-proclaimed gay had nonional reveries declaring hisalmost child- uniform take on the chaotic conditions of his time. Althoughdisguised as zero point more than a dark king tale, Lorcas El MaleficioDe La Mariposa, like all his succeeding dawdles, is replete withsymbolism that is quite impossible to apprehend for minds clouded over byyears of the worlds sensibilities.UPs Filipino translation of Lorcas early work was en championshipd AngMalupit na En cannisterto ng Mariposa. I found it puzzle that the actorsdelivered English lines when the ticket said that the play was aFilipino rendition. Besides, the title was in Filipino. My puzzlementis not over the fact that it was translated at all. The original, aft(prenominal) all, would have been impossible for us to comprehend since itwas in Spanish. But why not in Filipino? Either way, it wastranslated. Therefore, some of the scathingly trouble images ofLorcas dialogs may have been lost.However, I do not think the play was in such a serious tone -sad, yes,but not too high-brow and tight-lipped. It is amazing to think of howa man like Lorca, who troubles himself with the endeavors andtragedies of bugs and insects can be considered one of the greatestpoets of the 21st century. The play had the makings of a fairy tale-what with animals thinking and contriving, a beetle obsessing overlove, and a bewitching butterfly collapsing into their care. It wasenough to make the little girl in me stall with memories of childhooddreams, and hope that the beetle, with his troubadourian serenades,and the butterfly end up together. To add to this effect, the payoff was very pretty. Seeing the play through the artistry ofDulaang UP was a visual delight. The dainty lights overhead theaudience brought us into the enchantment of the beetles over f inding abutterfly in their midst. The choreography, too, moved the fantastic idea along. I didnt know one could create a whole mathematical function out ofbeetles and scorpions scamperings.But amid the loveliness of the set and choreography, I found a terrorin a tragedy that was still beautifully distressing. here(predicate) came out thepain of a longing frustrated by conventions in the young boy beetlespining for a love he cannot have. hither is the brilliance of Lorcaspoetry, the way he combines fear (in the scorpions menacing advances)and pain (in the love that cannot be reciprocated) with beauty. Thatwas where my confusion comes in, where I appealed to symbolism to make