Get Off The Train - Goethe, Gravy & Guitars

The Gem

One of my aims whilst visiting Granada was to take a tour of Lorca's Summerhouse.  The Internet indicated that there were pleasant gardens and a café - an ideal sojourn for my 3 unaffected companions whilst I took the tour.

I studied Lorca at college many years ago; Blood Wedding (Bodas de sangre), The House of Bernarda Alba (La casa de Bernarda Alba) and I vaguely remember the title of Yerma.  As part of our study we had a class trip to a tiny independent cinema in London to see Bodas de sangre performed and choreographed by Antonio Gades - I was mesmerised by Gades and the emotion he portrayed through dance.  The performance reawakened a childhood awe of flamenco and since that day I have seen many shows and even attended flamenco dance classes for a short period.  The dance, the passion and the story have a combined effect on me and the individual aspects can stir me to the core.  My recent involvement with Lorca's work came about this year when I accompanied the year 10 drama class to a local production of Blood Wedding and a few weeks later I had the pleasure of watching their earnest and mature representation.

The House -  Huerta de San Vicente  - It was by sheer luck that I took the tour with only four other people, a family who also happened to be English, so the guide was able to address us all at once.  For half an hour we were taken around the home with the original furniture and relevant pieces of artwork and wall hangings.  From the moment we stepped into the entrance hall we were all enchanted, not only by the excellent guide but also by the simplicity of the museum which contained so much history.  Despite or because of the simplicity, the meaning of the chosen exhibits was amplified and profound.  As we were taken from room to room the sense of Federico's being grew, his family, his friends and his work.  The final room was his bedroom which contained a bed, a chair, a picture and his desk.  It was too much to resist running a finger over the beautiful and over large oak desk at which he wrote Bodas de sangre and completed La casa de Bernarda Alba.  Finally we were guided to the exhibition hall (originally 3 upstairs rooms) where the dominant feature was a large poster celebrating the 100th performance of Bodas de sangre in Argentina - significant not only because Lorca attended the performance but more importantly because of the achievement of 100 performances and overseas recognition in the 1930's (without the technology and publicity available today).   The tour was at an end and as we reluctantly made our way down the stairs, the son of the English family asked his father what happened to Federico Garcia Lorca and his father relayed the terrible story of his murder in 1936. 

I normally associate museum tours with feelings of interest and fascination but this was something so much more.  It was the most emotive and affecting museum tour I have ever experienced and I honestly think I will remember it forever.

My family were waiting for me in the shade outside the house.  "Was it good?" 
"It was excellent" I replied, fighting back the tears. 
"How was the café?"
"Closed."

Oops.....