Embed Size (px)
Citation preview
THESPACEOFDUENDEUnderstandingtheAr6stryandPsychologyoftheCrea6ve
Experience
MichaelT.Maass,M.A.Mentor:Dr.JanetBaker
M.A.EnglishProgram,Dept.ofArtsandHumani@es,CollegeofLeCersandSciences
ABSTRACT
Thisar@cleassertsthatanar@st’sexperiencewiththedarkspiritofcrea@vity,theduende,canmanifestitselfintheformofasharedaesthe@cexperiencewithhisaudience.ThisclaimisbackedupthroughaclosereadingofthreeofFedericoGarciaLorca’spoems,aswellasanexplora@onofthepsychologyoftheduendethroughtheapplica@onofselectedtheoriesofpsychoanalysis.Thepurposeofthisar@cleistodemonstratethat,throughthecommonspaceofasharedaesthe@cexperience,boththear@standtheaudiencecansimultaneouslyexperiencethespiritoftheduende.Thisar@cleiswriCenforagraduate‐levelaudiencewithknowledgeoftheworksofFedericoGarciaLorca,literaryandpoe@canalysis,artpsychotherapy,andJungianpsychoanalysis.
INTRODUCTION
Inhis1933lecture,beforeacrowdattheSociedadAmigosdelArteinBuenosAires,Argen@na,SpanishpoetandplaywrightFedericoGarciaLorcadeclared,‘Themagicalvirtueofpoetryliesinthefactthatitisalwaysempoweredwithduende,tobap@zeindarkwaterallthosewhobeholdit,becausewithduende,lovingandunderstandingaresimpler,thereisalwaysthecertaintyofbeinglovedandbeingunderstood’(Lorca1933).Lorca’sdeclara@onoftheduendecapturedinlanguagethedarkspiritofcrea@vityfromwhichthear@st’sworksprings.EdwardHirschdescribesthedarknessofthephenomenonwhenhesays,‘Theduendeissavageandoccult,itisruthlessinitsalchemicalpursuitofart.Itisthesecretingredientpoweringthedevelopmentoflyricpoetry’(Hirsch1999:15).LorcawentontodescribehowthewriCenandperformanceartsofhisna@veAndalusia—poetry,dance,music,andbullfigh@ng—could,throughtheduende,elicitprofoundaesthe@cexperiencesforboththear@standhisaudience,‘OZentheduendeofthemusicianpassesoverintotheduendeoftheinterpreter[…]Whathappened,ineffect,wasthateachinhisownwayfoundsomethingnew,somethingneverbeforeencountered,whichputlifebloodandartintobodiesvoidofexpression’(Lorca1933).Here,Lorcaimplicatesnotonlythear@st,butalsotheaudienceintheexperienceoftheduende.Kris@neWilsontouchesonthedualnatureofthisaesthe@cexchangewhenshesays,‘Duendefunc@onsbothasasourceofar@s@cinspira@onandasaneffectofwitnessingtheworkofartproducedbysuchinspira@on.Thesetwofunc@onsoperatecon@ngently,andneithercanbesummonedatwill’(Wilson2008:76).Itispreciselyatthisintersec@onofthear@st’sexperienceandtheaudience’swherethisanalysisoftheduendebegins.
SonetodeHomenajeaManueldeFallaOfreciéndoleUnasFlores
Liracordialdeplatarefulgentededuroacentoynerviodesatado,
vocesyfrondasdelasEspañaardiente
contusmanosdeamorhasdibujado.(1‐4)
Ennuestrapropiasangreestálafuente
queturazónysueñoshabrotado.
Algebralimpiadeserenafrente.
Disciplinaypasióndelosoñado.(5‐8)
OchoprovinciasdelaAndalucía,
olivoalaireyalamarlosremos,
cantan,ManueldeFalla,tualegría.
Conellaurelyfloresqueponemos,
amigosdetucasa,enestedía,
puraamistadsencillateofrecemos.(9‐14)
GacelaVII:DelRecuerdodeAmor
Notellevesturecuerdo.Déjalosoloenmipecho,
temblordeblancocerezo
enelmarRriodeenero.
Meseparadelosmuertos
unmurodemalossueños.
Doypenadeliriofresco
parauncorazóndeyeso.
Todalanoche,enelhuerto
misojos,comodosperros.
Todalanoche,comiendo
losmembrillosdeveneno.
Algunasveceselvientoesuntulipándemiedo;
esuntulipánenfermo,lamadrugadadeinvierno.
Unmurodemalossueñosmeseparadelosmuertos.
Lahierbacubreensilencioelvallegrisdetucuerpo
Porelarcodelencuentrolacicutaestácreciendo.
Perodejaturecuerdo,déjalosoloenmipecho.(1‐24)
CaféCantante
Lámparasdecristalyespejosverdes.(1‐2).
Sobreeltabladooscuro,
laParralasosRene
unaconversación
conlamuerte.
Lallama,
noviene,
ylavuelveallamar.
Lasgentes
aspiranlossollozos.
Yenlosespejosverdes,
largascolasdeseda
semueven.(3‐14)
METHODS
AnanalysisofthreeofLorca’spoems,CaféCantante,GacelaVII:DelRecuerdodeAmor,andSonetodeHomenajeaManueldeFallaOfreciéndoleUnasFlores,illuminatestheuniquenatureoftheduendeasitrelatestothewriCenarts.ANewCri@calapproachtothesepoems’formalelementsbringstolightLorca’smasteryofthepoe@cform,whileanapplica@onofselectedtheoriesofpsychoanalysisaffordsanexplora@onoftheprofoundemo@onalandpsychologicalaffectshisworkiscapableofimpressinguponitsreader.Inthisway,thisar@cleexaminestheaesthe@csofthear@s@cexperienceandprovidesaclearunderstandingofthear@stryandpsychologyoftheduende.
Discussion
•AccordingtoJoySchaverien,PhD,aesthe@ccountertransferenceoccurswhenaworkembodyingthear@st’senergyanddesireiswitnessedandexperiencedbyanobserver,who,bywayoftheexchange,experiencesacountertransferenceofthear@st’[email protected]écantante,Lorcaiswitnesstothedancer’shypno@cexchangeandbecomesenchantedbythesameduendicspellasthosearoundhim.Thatis,heisthesubjectofacountertransferenceofherduendethroughasharedaesthe@cexperience.Lorca’spar@cipa@onintheduendeexperienceistwofold,ashehasalsorecreatedthedanceintheformofadarklyimagedandinspiredfourteen‐linepoem.
•Jung’stheoriesofac@veimagina@on&archetypalpaCernssuggestthatthear@stismerelyaconduitforaflowofcrea@veideas,andisessen@allypowerlessinthetransferentprocess(Schaverien2005).Similarly,Lorcapointsouttheuntamed,unpredictablenatureoftheduende,‘Withidea,withsound,orwithgesture,theduendechoosesthebrimofthewellforhisopenstrugglewiththecreator’(Lorca1933).Hereweseethattheduende,whenconsideredwithinthecontextofJung’sac@veimagina@on,isnotsomuchanar@st’sexerciseinself‐discovery,[email protected],thear@stisdiscoveredbothbythedarkspiritofcrea@vityandtheartitself.
•H.G.Gadamer’sideasonprojec@veiden@fica@[email protected],theiden@fica@onbetweentheactorandtheaudienceenablesthelaCertoreceivethefocusoftheplay,effec@velydrawingtheaudienceintotheac@ontobecomepartoftheexperience.Similarly,duringtheduendeexchange,theduendeoftheperformeristransferredtotheaudienceandthusreinvented.
CONCLUSION
Whiletheperformersandcomposersofhisna@veAndalusiabeckonedthroughtheirartstheshadowypresenceoftheduende,itwasthroughhisownlyricpoetryandwildlyimaginedversethatLorcarevealedthedarkspirit’[email protected],Lorcaborewitnesstotheenigmawhenhesaid,“Buttheduende‐whereistheduende?Throughtheemptyarchentersamentalairblowinginsistentlyovertheheadsofthedead,seekingnewlandscapesandunfamiliaraccents;anairbearingtheodorofchild'sspiCle,crushedgrass,andtheveilofMedusaannouncingtheunendingbap@smofallnewlycreatedthings”(Lorca1933).Inthisanalysis,aclosereadingofLorca’sworkdemonstratedhismasteryofthepoe@cform,whileanapplica@onofselectedtheoriesofpsychoanalysisofferedaviableapproachtowardunderstandingofthear@[email protected]’spoetrydemonstratesliterature’sabilitytoimpressuponitsreaderemo@onallysignificantvisceralexperiences,itisonlywithinthecommonspaceofasharedaesthe@cexperiencethatatrueunderstandingoftheduendeispossible.
REFERENCES
BenneC,Karen,2002.‘The“Duende”inEngland:Lorca's“BloodWedding”inTransla@on.’Transla@on&Literature.11.1:24‐44.
GarciaLorca,Federico,1933.‘TheDuende:TheoryandDiver@ssement.’TheMusicandPsycheNetwork.
Goudsmit,ArnoLeo,1998.‘TowardsaNega@veUnderstandingofPsychotherapy.’UniversityofGroningen:Disserta@onsoftheFacultyofBehavioralandSocialSciences:194‐209.
Hirsch,Edward,1998.‘TheDuende.’AmericanPoetryReview,28.4:13‐21.
Hobbs,MaryECa,2004.‘AnInves@ga@onoftheTradi@onalCanteJondoastheInspira@onfortheSongCycleFivePoemsofGarciaLorcabyElisendaFabregas.’Diss.UniversityofNorthTexas:5‐9.
Jalajel,David,2007.‘AShortHistoryoftheGhazal.’ghazalpage.net.
Laude,Patrick,2005.SingingtheWay:InsightsinPoetryandSpiritualTransforma@on(Bloomington:WorldWisdom).
Maurer,Christopher,2002,ed.FedericoGarciaLorca:CollectedPoems(NewYork:Farrar,Straus,Giroux).Allpoemsarefromthisedi@onandarecitedbyversenumberinthetext.
REFERENCES,cont.
Nommick,Yvan,n.d.‘Chronology’manueldefalla.com.
Pastor,Verbena,2000.‘TheDarkSideofCrea@vity:TheFunc@onofDuendeandGod‐BaClerinthewri@ngsofGarciaLorcaandKazantzakis.’Crea@vity,Spirituality,andTranscendence:PathstoIntegrityandWisdomintheMatureSelf.Eds.MelvinE.MillerandSusanneR.Cook‐Greuter(Stamford,Conn:AblexPublishingCorp.).
Schaverien,Joy,1995.DesireandtheFemaleTherapist:EngenderedGazesinPsychotherapyandArtTherapy(Oxford:Routledge).
‐‐‐2005,‘Art,dreamsandac@veimagina@on:Apost‐Jungianapproachtotransferenceoftheimage.’[email protected]:127‐153.
Thackery,Susan,1999.‘IsThereaJungianApproachtoArt?’[email protected]:4:53‐79.
Wilson,Kris@neA,2008.‘”BlackSounds”:HemingwayandDuende’.HemingwayReview27.2:74‐95.
FedericoGarciaLorca(leZ)wasbornnearGranada,Spainin1898.
