Lourdes

Lourdes was nervious, never before had been interview. I tell here that is a simple thing, is like a conversation. She relax and smile.

She tells me that she is from Ecuador, but she don’t know this country much, because she arrive when was five years. She has memories of here house and the beach. However, she likes Santiago. She loves the city, because she likes the modernity and traveled for the streets... But she has a secret, she don’t know to ride a bicycle. She says that is because she is clumsy…

She like to get lost

Jan Svankmajer

Jan Svankmajer is one of the great Czech filmmakers. He was born in 1934 in Prague where he still lives. He trained at the Institute of Applied Arts from 1950 to 1954 and then at the Prague Academy of Performing Arts (Department of Puppetry). He soon became involved in the Theatre of Masks and the famous Black Theatre, before entering the Laterna Magika Puppet Theatre where he first encountered film. Svankmajer made his first film in 1964 and for over thirty years has made some of the most memorable and unique animated films ever made, gaining a reputation as one of the world's foremost animators.

His work consists of many short films, like “Dimensions of dialogue” and six films: “Alice”, “Faust”, “Conspirators of pleasure”, Little Otik” and “Surviving life”.

I love this filmmaker because he has a style unique. His work in stop-motion is amazing… I like because  achieve to talk about body and the humans with dolls.

Here his photo…

Here his self-portrait, with his special style of to do cinema...

Yerma

I like read books of drama. Is a little strange, because this works are destined for the theater, but I like because I read the dialogues and I imagine to characters in a scene.

This book is “Yerma” by Federico García Lorca. He is a spanish dramatist and poet. His texts are beautiful; he is a very sensitive writer. Others of his famous works are “Blood Wedding” and “The House of Bernarda Alba”.

I like “Yerma” because his dialogues are very poetic and because I love the protagonist, a woman calls Yerma. She lives a tragedy:  her dream is to become a mother, but her husband is infertile.

Here a of my favorites quotes:

VÍCTOR. ¿Qué coses?

YERMA. Corto unos pañales.

VÍCTOR. (Sonriente.) ¡Vamos!

YERMA. (Ríe.) Los voy a rodear de encajes.

VÍCTOR. Si es niña le pondrás tu nombre.

YERMA. (Temblando.) ¿Cómo?...

VÍCTOR. Me alegro por ti.

YERMA.  (Casi ahogada.) No...,no son para mí. Son para el hijo de María.

VÍCTOR. Bueno, pues a ver si con el ejemplo té animas. En esta casa hace falta un niño.

YERMA.  (Con angustia.) ¡Hace falta!

VÍCTOR. Pues adelante. Dile a tu marido que piense menos en el trabajo. Quiere juntar dinero y lo juntará, pero ¿a quién lo va a dejar cuando se muera? Yo me voy con las ovejas. Dile a Juan que recoja las dos que me compró, y en cuanto a lo otro, ¡que ahonde! (Se va sonriente.)

YERMA. (Con pasión.) ¡Eso! iQue ahonde!

Te diré, niño mío, que sí,


tronchada y rota soy para ti.


¡Cómo me duele esta cintura,


donde tendrás primera cuna!


¿Cuándo, mi niño, vas a venir?


¡Cuando tu carne huela a jazmín!

(YERMA, que en actitud pensativa se levanta y acude al sitio donde ha estado VÍCTOR y respira fuertemente, como si aspirara aire de montaña, después va al otro lado de la habitación como buscando algo y de allí vuelve a sentarse y coge otra vez la costura. Comienza a coser y queda con los ojos fijos en un punto.)

TELÓN

This quote talk about the Keeling of the Yerma, here Desire to be a mother and her melancholy of not being.

FROM AMAZON:

The second of Lorca's great trilogy of rural dramas, Yerma is a concentrated blend of contrasting moods through which Lorca charts the increasingly destructive obsession of a childless young country wife, and probes the darker zones of human fears and desires. The play's rich mode of expression - a powerful combination of verbal, visual and auditory images and rhythms - is also geared to celebrating sexual attraction and fertility, creation and procreation. Through his characterization of the play's central figure, Lorca raises the question of women's social status - a controversial question both then and now, and one to which Robin Warner pays particular attention in his critical introduction to the play. He also examines the links between the dramatic structure of Yerma and the importance of cultural politics during the turbulent course of the Second Spanish Republic. The Spanish text is supported by an introduction and notes in English, as well as by an extensive vocabulary and section of discussion questions.

This text  explains very well the essence of drama, may need to refer th the poetic style of Federico García Lorca.