{"http:\/\/dx.doi.org\/10.14288\/1.0118793":{"http:\/\/www.europeana.eu\/schemas\/edm\/dataProvider":[{"value":"CONTENTdm","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/alternative":[{"value":"[UBC Theatre Programmes]","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/isPartOf":[{"value":"University Publications","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/issued":[{"value":"2015-07-17","type":"literal","lang":"en"},{"value":"[1989-01-11]","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/aggregatedCHO":[{"value":"https:\/\/open.library.ubc.ca\/collections\/ubctp\/items\/1.0118793\/source.json","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/elements\/1.1\/format":[{"value":"application\/pdf","type":"literal","lang":"en"}],"http:\/\/www.w3.org\/2009\/08\/skos-reference\/skos.html#note":[{"value":" There's only one way\nto really appreciate\nthe quality of our\nnew color copies.\nYou have to see one.\nThe new Canon Color Laser\nCopier will give you color copies\njust like the original. Or not like\nthe original at all.\nBecause now you can reduce\nand enlarge from 50% to 400%.\nYou can change colors. You can\ncombine a color original with a\nblack and white original to\ncompose a totally new image.\nThe Canon Color Laser\nCopier lets you copy from printed\nmaterials, 35mm slides, negatives and 3-dimensional objects.\nWhy not call or write for your\nown free color copy? And then\nyou'll see for yourselt\nCanon\nThe comforting choice.\nNow available on Campus\nexclusively at\nMEDIA SERVICES\n228-4775\n2206 East Mall, UBC Campus\nFREDERIC  WOOD  THEATRE\nYERMA \/\/\nThe play's the thing\nPlays\nPlaywriting\nActing and Voice\nTheatre Production\nTheatre Design\nTheatre Criticism\nTheatre History\nTheatre People\nScreenplays\nScreenwriting\nFilm Directing\nFilm Production\nFilm Business\nFilm Acting\nFilm Analysis & Criticism\nFilm People\nCinematography\nSpecial Effects\nFilm\/Video Guides\n\u2022 \u2022 \u2022\nAnd we have a fine selection\nof plays and books on all\naspects of the theatre.\nBut the play's not all.\nWe also have books on films\nand filmmaking,\nfor filmgoer\nand filmmaker alike.\nWhether your thing\nis stage or silver screen,\nyou'll find inspiration\nat the UBC Bookstore.\nBOOKSTORE\n6200 University Boutevard \u2022 228-4741\nHours Mon Tues Thurs Fri 8.30 am-5.00 pm\nWed 8,30 am-8.30 pm Sat 9.30 am-5.00 pm\nComputer Shop Mon-Fri 8.30 am-5.00 pm\nUniversity of British Columbia\nFrederic Wood Theatre\npresents\nYERMA\nBy\nFederico Garcia Lorca\nDirected By\nCatherine Caines\nJanuary 11-21\n1989\nThe Frederic Wood Theatre Magazine\nA Seasonal Publication of University Productions Inc.\nFor further information regarding this\nand upcoming publications call:\n(604) 732-7708 .^..v'^r'M,\n%\nFederico Garcia Lorca:\nA Brief Chronology\n1898, June 5th.\nFederico Garcia Lorca born at Fuentevaqueros, near Granada.\n1918\nPublished his first book, Impresions y paisajes (prose).\n1920\nProduction of his first play, El maleficio de la mariposa in Madrid.\n1921\nPublication of Libro depoemas.\n1923\nLaw degree, University of Granada.\n1927\nPublication of Canciones (Songs). Mariana Pineda produced with\nsuccess in Barcelona and Madrid. Garcia Lorca's drawings attract\nattention at exhibition in Barcelona gallery.\n1928\nPublication of Romancero gitano (Gypsy Ballads).\n1929-30\nTrip to the United States and Cuba; gives lectures. Composition of\npoems of Poeta en Nueva York.\n1930\nOn his return, La zapatera prodigiosa (The Shoemaker's Prodigious\nWife) a success in Madrid.\n1931\nPublication of Poema del cante jondo.\n1932\nFounder and director of the traveling university-theatre, La Barraca.\n1933\nBodas de sangre (Blood Wedding) and Don Perlimplin performed in\nMadrid; to Argentina to lecture; directed his own plays and the classics\nin Buenos Aires.\n1934\nYERMA produced in Madrid.\n1935\nThe puppet play Retablillo de Don Cristobal produced in Madrid; Llanto\npor Ignacio Sanchez Mejias published; Dona Rosita la soltera produced\nin Barcelona; finishes a book of sonnets and announces that La\ndestruccion de Sodoma is nearly finished.\n1936\nReads El publico for friends.\nAugust. When the victorious right-wing forces occupied Granada at the\nbeginning of the Spanish Civil War, Federico Garcia Lorca was\nexecuted and his body thrown into an unmarked grave. Federico Garcia Lorca\nPoems\nLittle song of the first desire\nIn the green morning\nI wished to be a heart.\nA heart.\nAnd in the ripe afternoon\nI wished to be a nightingale.\nA nightingale.\nSoul, put on orange color.\nSoul, put on orange color.\nIn the living morning\nI wished to be I.\nA heart.\nAnd in the waning afternoon\nI wished to be my voice.\nA nightingale.\nSoul, put on orange color,\nSoul, put on orange color!\nSong of the Dry Orange-Tree\nWoodman.\nCut for me the shades\nFree me from the martyrdom\nof seeing myself without fruitage.\nWhy was I born between mirrors?\nDay reflects me\nand the night copies me\nin all its stars.\nI wish to live without seeing myself.\nAnd ants and downy seeds,\nI will dream that these are my\nleaves and my birds.\nWoodman.\nCut for me the shades.\nFree me from the martyrdom\nof seeing myself without fruitage.\nThe leave-taking\n\/\/\/ die\nleave the balcony open.\nThe boy eats oranges\nFrom my balcony I see it.\nThe reaper cuts the wheat.\nFrom my balcony I feel it.\nIf I die,\nleave the balcony open! YERMA\nCAST\nIn order of appearance\nYerma Barbara Cormack\nJuan Jason Smith\nMaria Allison Sanders\nVictor Michael Cavers\nMiranda, an old woman Susan C. Bertoia\nIsabela, a young girl Sheila Stowell\nMonserat, a young girl Mireille Chambers\nLaundresses:\nLuisa Sandra Birkenhead\nPilar Sara Levine\nJuanita Lisa Beley\nIsabela Mindy Forrester\nRosa Trish Williams\nPaula Jo Howitz\nSisters-in-law:\nMagdalena Kathleen Duborg\nRosita Johane Meehan\nConchita, a woman Eliza Green-Moncur\nDolores Laura K. Burke\nCarmen, a young woman Michelle Porter\nBy Federico Garcia Lorca\nTranslated by\nJames Graham-Lujan and\nRichard L. O'Connell\nMen:\nJos6 Kurt Eby\nEstefan Tom Shulte\nMiguel Kelly Aisenstat\nBoys:\nMarco John Stefaniuk\nGarcia Brian Irwin\nCelebrants:\nMarcela Jo Howitz\nEmanuela Trish Williams\nCarmela Martina Smyth\nFilipa Diana Stein\nConsuela Laara Sadiq\nCatalana Suzanne Buchan-Grieder\nAntonio, the Male Mask Phil Barnett\nMiguela, the Female Mask Michele Melland\nAct I Scene I - Anytime\nAct I Scene II - One year later\nAct II Scene I - Two years later\nAct II Scene II - One month later\nSet Design By\nRobert Gardiner\nDirected By\nCatherine Caines\nCostume Design By\nMara Gottler\nLighting Design By\nKairiin Bright\nPRODUCTION\nTechnical Director Ian Pratt\nProperties Sherry Milne\nCostume Supervisor Chelsea Moore\nSet Construction Don Griffiths, John Henrickson,\nRobert Moser\nCutter Jean Driscoll-Bell\nStage Manager Nick Davis\nAssistant Stage Manager Nik von Schulmann\nAssistant Director Tracy Holmes\nAssistant Scene Designer Blanka Jurenka\nCostume Design Assistant Jill Buckham\nScenic Artist Bill Rasmussen\nLighting Operator Erin Jarvis\nSound Operator Tania Lazib\nWardrobe Mistress Catherine King\nMake Up Nick Davis\nStage Crew Nancy Lyons, Glen Winter\nCostume Assistants... Heike Anderson, Nancy Canning, Colin Lim\nScene Painter J. Cricket Price\nProperties Assistant Heather Kent\nLighting Crew Glen Winter\nOriginal Music Tracy Holmes\nSoundScape Susan C. Bertoia\nMovement coach Trish Williams\nGuitarists... .Brian Irwin, Suzanne Buchan-Grieder\nBox Office Carol Fisher, Linda McRae, Jason Smith\nHouse Manager Jill Buckham\nBusiness Manager Marjorie Fordham\nProduction Robert Eberle\nAcknowledgements:\nRegent Heating Ltd.\nYERMA\nis produced by special arrangement with\nSamuel French (Canada) Ltd.\n-There will be one 15 minute intermission.\t The Theatre of Lorca\nLorca is an original creator, if by that is understood to have\nimagined a world and a mode of expression which are inimitable. In\nSpanish literature he occupies his own particular place, and no one\nhas known how, or been able, to follow him. He may well be an\ninspiration for other artists (the film\/ballet Blood Wedding by Carlos\nSaura is an example), but his works in their entirety elude possible\nimitators and create difficulties for criticism.\nLorca is a member of the generation of 1927, a group of writers -\nAlberti, Cernuda, Aleixandre, Guillen, Alonso, among others - who\ngave Spanish poetry a brilliance perhaps unequaled since the\nseventeenth century. The group appeared at a privileged moment:\nbefore them, the great poets of the previous generation - Unamuno,\nMachado, Valle Inclan, Juan Ramon Jimenez -, who are today the\nindisputable classics of Spanish modernism, had already paved the\nway; ahead of them, the group had the european avant-garde,\nparticularly surrealism; and uniting the two, a tradition that for them\nwas essential: the hermetic baroque style of Gongora, the formal and\nintellectual precision of Quevedo, and the popular dimension of the\ntheatre of Lope de Vega (Lorca organized a travelling theatre group,\n\"la Barraca\", and brought to the villages the works of the classics).\nThis tension between a tradition, immediate or distant, and its\nassimilation to the avant-garde permeates the poetry of the members\nof the Generation of 1927 despite the differences between them. It is\nnot surprising that many years later, in 1977, Aleixandre accepted\nthe Nobel Prize for literature in the name of his colleagues: of those\nwho died during the Spanish Civil War (Lorca) or in exile\n(Cernuda), or of those who continued their work in other countries\n(Alberti, Guillen) or in the restrictive space of the Francoist\ndictatorship (Alonso, and Aleixandre himself).\nLorca (with Alberti) is the one who best represents the union of the\npopular spirit, the cultivated verbal ostentation of Gongora and the\nexperimentalism of the avant-garde; who distributed his energy\nequally between poetry and theatre, and who had the most unified\nvision of art (he was a musician and admirer of Falla, a painter and\nclose friend of Dali). From this complexity comes the fascination his\nworks arouse in readers and spectators, and the difficulty of\ndefining them in a simple way.\nEven at the risk of falling into such danger, we can point out some\nof the characteristics of Lorca's work.\nIn the first place, there is his tragic vision, which is manifested in\nthe opposition between the most profound impulses of the individual\n(we could speak of instincts) and the circumstances that prevent their\nfulfillment. Synthesizing even more: the opposition between love\nand death: love, always charged with a strong sexual connotation, as\nan affirmation of that which is most vital, free, and regenerative, and\ndeath as the fatal destiny of love, which in Lorca's theatre is\nexteriorized progressively until it adopts a social face.\nAnother aspect is the dramatism that impregnates all of his work and\nblurs any absolute differentiation between poetry and theatre. His\npoetry has an indisputable dramatic dimension: one has only to read\nthose condensed dramas which are the poems of the Romancero\nGitano, or the implied dialogistic structure of the Llanto por\nIgnacio Sanchez Mejias (Ohana has composed a cantata on this\nelegy). Similarly, in his theatrical pieces, the border disappears\nbetween prose and verse, between the referential word and the\nsuggestive or symbolic expression, between the recreation of\npopular language and individual, unique linguistic invention, to\nwhich we may add the concept of character as \"voice\" and situation\nas \"stanza\". Indeed, Yerma has the subtitle \"Tragic Poem\".\nA quality of Lorca's theatre is the construction of his imaginary\nworld on various (apparently contradictory) levels: a dramatic\ntexture in which the \"documentary\" surface of reality is projected\ninto a social, economic and cultural context, is confined within the limits of a poetic archetype, and is given a tragic dimension in which\nthe figures in conflict, moved by a single passion, fulfill their\ndestiny.\nFor example, in Yerma, the maternal passion of the protagonist\nleads to tragedy, to an absolute negation, to the fulfillment of her\nname (\"yerma\" means uninhabited, barren land); the image that\nsustains the tragedy is archetypal: the woman is the earth, the man is\nthe laborer, the child is the fruit and renewal of life; the tragic\nconditionings are economic and cultural - possession of the land,\ntypical of agricultural societies and a common context of Lorca's last\nplays; blood relations, the concepts of legitimacy and honor, family\nrelationships... The fable that develops this complex is a \"case\",\noften authentic, exaggerated by a popular imagination that is\nmelodramatic and sensational: the case of the wife who kills her\nhusband, or of the girl who commits suicide for love (The House of\nBernarda Alba), or of the bride who runs away with her lover on her\nwedding day (Blood Wedding)...\nMore concentrated in its artistic conception and in its meaning than\nBlood Wedding, but without reaching the almost conventional form\nof The House of Bernarda Alba and its economic determinism\n(which takes on the role of death against the rights and impulses of\nlove), Yerma continues to confound critics.\nSome years ago, the celebrated staging by Victor Garcia, praised\naround the world, tried to accentuate the poetic level of the tragedy: a\ncanvas, constantly changing form, allowed the figures to move as if\nin the air, appearing and disappearing in a space which consisted of\ntheir spoken words. It was a novel production, without doubt, but it\nleft out that which realism tends to emphasize, and is proof once\nagain of the difficulties of the theatre of Lorca.\nIsaac Rubio\nDr. Isaac Rubio teaches in the Department of Hispanic and Italian\nStudies at The Univeristy of British Columbia.\nShakespearean\nFestival Study Tour\nAshland, Oregon\nJune 19-25,1989\nIncludes:\nthe Vancouver Lecture Series\n'Page and Stage'\nMay 3-June 14, 1989\nBy UBC Professors\nFor Further Information\ncontact: The UBC Centre For\nContinuing Education\nCreative Arts Program\n222-5254 \u25a0\nPANACHE\nFor that very precious person,\na very special gift.\nChoose a 999 Pure Silver\nor Gold piece of jewellery,\ndesigned and handcrafted\nby Gold & Silversmith\nErich Grill\nA Fabulous Collection of\nPearls and semi-precious stones\nat very reasonable prices.\nTuesday - Saturday\n10:00 a.m. -5:30 p.m.\nPANACHE\n4475 West 10th Avenue\n 224-2514\t\nUNIVERSITY\nPRODUCTIONS    INC.\nThe Frederic Wood Theatre Magazine\nA Seasonal Publication of University Productions Inc.\nFor further information regarding this\nand upcoming publications call:\n(604) 732-7708 FREDERIC WOOD THEATRE\nCOMING     ATTRACTIONS\nZastrozzi\nBy George F. Walker\nDirected By Robin Nichol\nFebruary 7-11, 1989\nHenry IV, Part 1\nBy William Shakespeare\nDirected by Rod Menzies\nMarch 15-25, 1989\nBOX    OFFICE   228-2678\nUBC Musical Theatre Society\nPresents...\n_p The Best of ,_\n^ MUSSOC ^\nA Celebration\nFebruary 1-4, 8:00 P.M. UBC Old\nMatinees 2:00 p.m. Auditorium\nThursday & Saturday    Tickets: 737-7635\nEnter A nother World...\nPUNJAB\nRESTAURANT\nThe first to serve Vancouver with\nIndia's finest cuisine since 1971.\nExotic Foods at moderate prices.\nSuperb selection of 16 meat and 8 vegetarian dishes.\nRelax in plush surroundings of the Far East.\nSitar music and unique slide show of India.\nOpen 7 days a week for lunch & dinner\nWalking distance from B.C. Stadium\n796 Main St. (at Union) 3 blocks South of Chinatown\nCustomer Parking at Rear\n688-5236\n\\?m fflft\u00ae Q<\u00a7]@ft    iFijj^\"' H=\u00ab==s#,i\"'i|jjiii;S!Isi=?\"\"   \u00a90=\nooudl \u00a9\u00a9mpiofeirs\nSoftware systems\nComputer Languages\nBusiness Applications\nOperating systems\n3727 W. 10th Ave.\nVancouver, B.C.\nV6R 2G5\nOrder: 222 2221\nFax: 222 2625\nToll Free: 800 663 7535","type":"literal","lang":"en"},{"value":"The Frederic Wood Theatre production of \"\"Yerma.\"\"","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/hasType":[{"value":"Periodicals","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/spatial":[{"value":"Vancouver (B.C.)","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/identifier":[{"value":"UBCTheatrePrograms_1989-01-11","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/isShownAt":[{"value":"10.14288\/1.0118793","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/language":[{"value":"English","type":"literal","lang":"en"}],"http:\/\/www.europeana.eu\/schemas\/edm\/provider":[{"value":"Vancouver : University of British Columbia Library","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/publisher":[{"value":"[Vancouver : Frederic Wood Theatre, University of British Columbia]","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/rights":[{"value":"Images provided for research and reference use only. Permission to publish, copy, or otherwise use these images must be obtained from the University of British Columbia Department of Theatre.","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/source":[{"value":"Original Format: University of British Columbia. Archives","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/subject":[{"value":"University of British Columbia","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/title":[{"value":"Yerma","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/type":[{"value":"Text","type":"literal","lang":"en"}],"http:\/\/purl.org\/dc\/terms\/description":[{"value":"","type":"literal","lang":"en"}]}}