1. Blood Wedding Act Two, Scene One Theo, Ruby, Cheyenne, Miriam

2. Creative Overview Impending tragedy through symbolic imagery. Show issues within the roles of women in society. Sacrifices for true love. Conflict between conformity and rebellion.

3. Background information on Lorca. Federico Garcia Lorca was born in 1898 in a small traditional farming town outside Grenada. He grew up with a great love of the region and admired the landscape for its “melodic poplars and lyrical rivers”, this inspired the setting for Blood Wedding. Lorca started his career writing poetry, painting and playing the piano. He then began his first book which was based on four trips he took through central Spain in 1916. Moving to Madrid in 1919, Lorca associated himself with other Spanish artists such as Salvador Dali and film maker Luis Bunuel who would revolutionise Spanish culture. He remained in Madrid until 1928 in which time he had become one of Spain's most highly respected poets. After moving to New York City for a number of years, Lorca returned to Spain to find King Alfonso 13 th abdicated and Spain had become a republic country. Suring 1933 Lorca took one week to write Blood Wedding based on a 1928 newspaper story about faithless love and remorseless death Lorca was arrested on August 16 by Franco’s fascist soldiers, confined for several days and then executed by a firing squad just outside Granada, in his home region of Andalusia.

4. Genre & Style genre Our creative interpretation for Blood Wedding is that it is a Romantic Tragedy due to the forbidden and secret relationship between the Bride and Leonardo; the loveless arranged marriage and ultimate revenge culminating in blood. style Using the traverse we hope to mix elements of naturalism and symbolism which were traditional mixed in Spanish theatre. Gradually, throughout the play we intend to include more elements of symbolism.

5. Relevant issues within Blood Wedding and Lorca Feminism Homosexuality Sexuality Conformity Suppression of groups in society / true self

6. Set design TIERED AUDIENCE CYCLORAMA- EXIT/ENTRANCE BALCONY EXIT/ENTRANCE RAISED STAGE EXIT/ENTRANCE TRAVERSE STAGE

7. Intended experience for the audience linked with the creative overview Make the audience sympathise with the tragedy of the women. Disagree with the traditional ideas that the older generation holds Leonardo should be the “tragic hero” – the audience should have mixed feelings toward him

8. Directorial Strategies for Act Two, Scene One Imagery shown through the orange- blossom. Guests and Servants do a Flamenco dance to traditional Spanish flamenco guitar music. Bride begins dressing on the balcony. Leonardo and his Wife perform centre stage and seem to break-up the dance with their arguing.

9. Textual References ‘ Don’t tempt fate by throwing the flowers on the floor.’ Servant ‘Dark clouds. A cold wind here inside me…’ Bride ‘To keep quiet and burn is the greatest punishment we can heap upon ourselves.’ Leonardo ‘When you leave your home For the church’s blessing, Remember you leave Like a bright star shining.’ Voices