@prefix edm: . @prefix dcterms: . @prefix dc: . @prefix skos: . edm:dataProvider "CONTENTdm"@en ; dcterms:alternative "[UBC Theatre Programmes]"@en ; dcterms:isPartOf "University Publications"@en ; dcterms:issued "2015-07-17"@en, "[1989-01-11]"@en ; edm:aggregatedCHO "https://open.library.ubc.ca/collections/ubctp/items/1.0118793/source.json"@en ; dc:format "application/pdf"@en ; skos:note """ There's only one way to really appreciate the quality of our new color copies. You have to see one. The new Canon Color Laser Copier will give you color copies just like the original. Or not like the original at all. Because now you can reduce and enlarge from 50% to 400%. You can change colors. You can combine a color original with a black and white original to compose a totally new image. The Canon Color Laser Copier lets you copy from printed materials, 35mm slides, negatives and 3-dimensional objects. Why not call or write for your own free color copy? And then you'll see for yourselt Canon The comforting choice. Now available on Campus exclusively at MEDIA SERVICES 228-4775 2206 East Mall, UBC Campus FREDERIC WOOD THEATRE YERMA // The play's the thing Plays Playwriting Acting and Voice Theatre Production Theatre Design Theatre Criticism Theatre History Theatre People Screenplays Screenwriting Film Directing Film Production Film Business Film Acting Film Analysis & Criticism Film People Cinematography Special Effects Film/Video Guides • • • And we have a fine selection of plays and books on all aspects of the theatre. But the play's not all. We also have books on films and filmmaking, for filmgoer and filmmaker alike. Whether your thing is stage or silver screen, you'll find inspiration at the UBC Bookstore. BOOKSTORE 6200 University Boutevard • 228-4741 Hours Mon Tues Thurs Fri 8.30 am-5.00 pm Wed 8,30 am-8.30 pm Sat 9.30 am-5.00 pm Computer Shop Mon-Fri 8.30 am-5.00 pm University of British Columbia Frederic Wood Theatre presents YERMA By Federico Garcia Lorca Directed By Catherine Caines January 11-21 1989 The Frederic Wood Theatre Magazine A Seasonal Publication of University Productions Inc. For further information regarding this and upcoming publications call: (604) 732-7708 .^..v'^r'M, % Federico Garcia Lorca: A Brief Chronology 1898, June 5th. Federico Garcia Lorca born at Fuentevaqueros, near Granada. 1918 Published his first book, Impresions y paisajes (prose). 1920 Production of his first play, El maleficio de la mariposa in Madrid. 1921 Publication of Libro depoemas. 1923 Law degree, University of Granada. 1927 Publication of Canciones (Songs). Mariana Pineda produced with success in Barcelona and Madrid. Garcia Lorca's drawings attract attention at exhibition in Barcelona gallery. 1928 Publication of Romancero gitano (Gypsy Ballads). 1929-30 Trip to the United States and Cuba; gives lectures. Composition of poems of Poeta en Nueva York. 1930 On his return, La zapatera prodigiosa (The Shoemaker's Prodigious Wife) a success in Madrid. 1931 Publication of Poema del cante jondo. 1932 Founder and director of the traveling university-theatre, La Barraca. 1933 Bodas de sangre (Blood Wedding) and Don Perlimplin performed in Madrid; to Argentina to lecture; directed his own plays and the classics in Buenos Aires. 1934 YERMA produced in Madrid. 1935 The puppet play Retablillo de Don Cristobal produced in Madrid; Llanto por Ignacio Sanchez Mejias published; Dona Rosita la soltera produced in Barcelona; finishes a book of sonnets and announces that La destruccion de Sodoma is nearly finished. 1936 Reads El publico for friends. August. When the victorious right-wing forces occupied Granada at the beginning of the Spanish Civil War, Federico Garcia Lorca was executed and his body thrown into an unmarked grave. Federico Garcia Lorca Poems Little song of the first desire In the green morning I wished to be a heart. A heart. And in the ripe afternoon I wished to be a nightingale. A nightingale. Soul, put on orange color. Soul, put on orange color. In the living morning I wished to be I. A heart. And in the waning afternoon I wished to be my voice. A nightingale. Soul, put on orange color, Soul, put on orange color! Song of the Dry Orange-Tree Woodman. Cut for me the shades Free me from the martyrdom of seeing myself without fruitage. Why was I born between mirrors? Day reflects me and the night copies me in all its stars. I wish to live without seeing myself. And ants and downy seeds, I will dream that these are my leaves and my birds. Woodman. Cut for me the shades. Free me from the martyrdom of seeing myself without fruitage. The leave-taking /// die leave the balcony open. The boy eats oranges From my balcony I see it. The reaper cuts the wheat. From my balcony I feel it. If I die, leave the balcony open! YERMA CAST In order of appearance Yerma Barbara Cormack Juan Jason Smith Maria Allison Sanders Victor Michael Cavers Miranda, an old woman Susan C. Bertoia Isabela, a young girl Sheila Stowell Monserat, a young girl Mireille Chambers Laundresses: Luisa Sandra Birkenhead Pilar Sara Levine Juanita Lisa Beley Isabela Mindy Forrester Rosa Trish Williams Paula Jo Howitz Sisters-in-law: Magdalena Kathleen Duborg Rosita Johane Meehan Conchita, a woman Eliza Green-Moncur Dolores Laura K. Burke Carmen, a young woman Michelle Porter By Federico Garcia Lorca Translated by James Graham-Lujan and Richard L. O'Connell Men: Jos6 Kurt Eby Estefan Tom Shulte Miguel Kelly Aisenstat Boys: Marco John Stefaniuk Garcia Brian Irwin Celebrants: Marcela Jo Howitz Emanuela Trish Williams Carmela Martina Smyth Filipa Diana Stein Consuela Laara Sadiq Catalana Suzanne Buchan-Grieder Antonio, the Male Mask Phil Barnett Miguela, the Female Mask Michele Melland Act I Scene I - Anytime Act I Scene II - One year later Act II Scene I - Two years later Act II Scene II - One month later Set Design By Robert Gardiner Directed By Catherine Caines Costume Design By Mara Gottler Lighting Design By Kairiin Bright PRODUCTION Technical Director Ian Pratt Properties Sherry Milne Costume Supervisor Chelsea Moore Set Construction Don Griffiths, John Henrickson, Robert Moser Cutter Jean Driscoll-Bell Stage Manager Nick Davis Assistant Stage Manager Nik von Schulmann Assistant Director Tracy Holmes Assistant Scene Designer Blanka Jurenka Costume Design Assistant Jill Buckham Scenic Artist Bill Rasmussen Lighting Operator Erin Jarvis Sound Operator Tania Lazib Wardrobe Mistress Catherine King Make Up Nick Davis Stage Crew Nancy Lyons, Glen Winter Costume Assistants... Heike Anderson, Nancy Canning, Colin Lim Scene Painter J. Cricket Price Properties Assistant Heather Kent Lighting Crew Glen Winter Original Music Tracy Holmes SoundScape Susan C. Bertoia Movement coach Trish Williams Guitarists... .Brian Irwin, Suzanne Buchan-Grieder Box Office Carol Fisher, Linda McRae, Jason Smith House Manager Jill Buckham Business Manager Marjorie Fordham Production Robert Eberle Acknowledgements: Regent Heating Ltd. YERMA is produced by special arrangement with Samuel French (Canada) Ltd. -There will be one 15 minute intermission. The Theatre of Lorca Lorca is an original creator, if by that is understood to have imagined a world and a mode of expression which are inimitable. In Spanish literature he occupies his own particular place, and no one has known how, or been able, to follow him. He may well be an inspiration for other artists (the film/ballet Blood Wedding by Carlos Saura is an example), but his works in their entirety elude possible imitators and create difficulties for criticism. Lorca is a member of the generation of 1927, a group of writers - Alberti, Cernuda, Aleixandre, Guillen, Alonso, among others - who gave Spanish poetry a brilliance perhaps unequaled since the seventeenth century. The group appeared at a privileged moment: before them, the great poets of the previous generation - Unamuno, Machado, Valle Inclan, Juan Ramon Jimenez -, who are today the indisputable classics of Spanish modernism, had already paved the way; ahead of them, the group had the european avant-garde, particularly surrealism; and uniting the two, a tradition that for them was essential: the hermetic baroque style of Gongora, the formal and intellectual precision of Quevedo, and the popular dimension of the theatre of Lope de Vega (Lorca organized a travelling theatre group, "la Barraca", and brought to the villages the works of the classics). This tension between a tradition, immediate or distant, and its assimilation to the avant-garde permeates the poetry of the members of the Generation of 1927 despite the differences between them. It is not surprising that many years later, in 1977, Aleixandre accepted the Nobel Prize for literature in the name of his colleagues: of those who died during the Spanish Civil War (Lorca) or in exile (Cernuda), or of those who continued their work in other countries (Alberti, Guillen) or in the restrictive space of the Francoist dictatorship (Alonso, and Aleixandre himself). Lorca (with Alberti) is the one who best represents the union of the popular spirit, the cultivated verbal ostentation of Gongora and the experimentalism of the avant-garde; who distributed his energy equally between poetry and theatre, and who had the most unified vision of art (he was a musician and admirer of Falla, a painter and close friend of Dali). From this complexity comes the fascination his works arouse in readers and spectators, and the difficulty of defining them in a simple way. Even at the risk of falling into such danger, we can point out some of the characteristics of Lorca's work. In the first place, there is his tragic vision, which is manifested in the opposition between the most profound impulses of the individual (we could speak of instincts) and the circumstances that prevent their fulfillment. Synthesizing even more: the opposition between love and death: love, always charged with a strong sexual connotation, as an affirmation of that which is most vital, free, and regenerative, and death as the fatal destiny of love, which in Lorca's theatre is exteriorized progressively until it adopts a social face. Another aspect is the dramatism that impregnates all of his work and blurs any absolute differentiation between poetry and theatre. His poetry has an indisputable dramatic dimension: one has only to read those condensed dramas which are the poems of the Romancero Gitano, or the implied dialogistic structure of the Llanto por Ignacio Sanchez Mejias (Ohana has composed a cantata on this elegy). Similarly, in his theatrical pieces, the border disappears between prose and verse, between the referential word and the suggestive or symbolic expression, between the recreation of popular language and individual, unique linguistic invention, to which we may add the concept of character as "voice" and situation as "stanza". Indeed, Yerma has the subtitle "Tragic Poem". A quality of Lorca's theatre is the construction of his imaginary world on various (apparently contradictory) levels: a dramatic texture in which the "documentary" surface of reality is projected into a social, economic and cultural context, is confined within the limits of a poetic archetype, and is given a tragic dimension in which the figures in conflict, moved by a single passion, fulfill their destiny. For example, in Yerma, the maternal passion of the protagonist leads to tragedy, to an absolute negation, to the fulfillment of her name ("yerma" means uninhabited, barren land); the image that sustains the tragedy is archetypal: the woman is the earth, the man is the laborer, the child is the fruit and renewal of life; the tragic conditionings are economic and cultural - possession of the land, typical of agricultural societies and a common context of Lorca's last plays; blood relations, the concepts of legitimacy and honor, family relationships... The fable that develops this complex is a "case", often authentic, exaggerated by a popular imagination that is melodramatic and sensational: the case of the wife who kills her husband, or of the girl who commits suicide for love (The House of Bernarda Alba), or of the bride who runs away with her lover on her wedding day (Blood Wedding)... More concentrated in its artistic conception and in its meaning than Blood Wedding, but without reaching the almost conventional form of The House of Bernarda Alba and its economic determinism (which takes on the role of death against the rights and impulses of love), Yerma continues to confound critics. Some years ago, the celebrated staging by Victor Garcia, praised around the world, tried to accentuate the poetic level of the tragedy: a canvas, constantly changing form, allowed the figures to move as if in the air, appearing and disappearing in a space which consisted of their spoken words. It was a novel production, without doubt, but it left out that which realism tends to emphasize, and is proof once again of the difficulties of the theatre of Lorca. Isaac Rubio Dr. Isaac Rubio teaches in the Department of Hispanic and Italian Studies at The Univeristy of British Columbia. Shakespearean Festival Study Tour Ashland, Oregon June 19-25,1989 Includes: the Vancouver Lecture Series 'Page and Stage' May 3-June 14, 1989 By UBC Professors For Further Information contact: The UBC Centre For Continuing Education Creative Arts Program 222-5254 ■ PANACHE For that very precious person, a very special gift. Choose a 999 Pure Silver or Gold piece of jewellery, designed and handcrafted by Gold & Silversmith Erich Grill A Fabulous Collection of Pearls and semi-precious stones at very reasonable prices. Tuesday - Saturday 10:00 a.m. -5:30 p.m. PANACHE 4475 West 10th Avenue 224-2514 UNIVERSITY PRODUCTIONS INC. The Frederic Wood Theatre Magazine A Seasonal Publication of University Productions Inc. For further information regarding this and upcoming publications call: (604) 732-7708 FREDERIC WOOD THEATRE COMING ATTRACTIONS Zastrozzi By George F. Walker Directed By Robin Nichol February 7-11, 1989 Henry IV, Part 1 By William Shakespeare Directed by Rod Menzies March 15-25, 1989 BOX OFFICE 228-2678 UBC Musical Theatre Society Presents... _p The Best of ,_ ^ MUSSOC ^ A Celebration February 1-4, 8:00 P.M. UBC Old Matinees 2:00 p.m. Auditorium Thursday & Saturday Tickets: 737-7635 Enter A nother World... PUNJAB RESTAURANT The first to serve Vancouver with India's finest cuisine since 1971. Exotic Foods at moderate prices. Superb selection of 16 meat and 8 vegetarian dishes. Relax in plush surroundings of the Far East. Sitar music and unique slide show of India. Open 7 days a week for lunch & dinner Walking distance from B.C. Stadium 796 Main St. (at Union) 3 blocks South of Chinatown Customer Parking at Rear 688-5236 \\?m fflft® Q<§]@ft iFijj^"' H=«==s#,i"'i|jjiii;S!Isi=?"" ©0= ooudl ©©mpiofeirs Software systems Computer Languages Business Applications Operating systems 3727 W. 10th Ave. Vancouver, B.C. V6R 2G5 Order: 222 2221 Fax: 222 2625 Toll Free: 800 663 7535"""@en, "The Frederic Wood Theatre production of \"\"Yerma.\"\""@en ; edm:hasType "Periodicals"@en ; dcterms:spatial "Vancouver (B.C.)"@en ; dcterms:identifier "UBCTheatrePrograms_1989-01-11"@en ; edm:isShownAt "10.14288/1.0118793"@en ; dcterms:language "English"@en ; edm:provider "Vancouver : University of British Columbia Library"@en ; dcterms:publisher "[Vancouver : Frederic Wood Theatre, University of British Columbia]"@en ; dcterms:rights "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."@en ; dcterms:source "Original Format: University of British Columbia. Archives"@en ; dcterms:subject "University of British Columbia"@en ; dcterms:title "Yerma"@en ; dcterms:type "Text"@en ; dcterms:description ""@en .