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00:07Federico García Lorca
00:58Federico García Lorca
01:18Federico García Lorca
01:57Federico García Lorca
02:28Federico García Lorca
02:48Federico García Lorca
03:23Federico García Lorca
03:34Federico García Lorca
04:03Federico García Lorca
04:34Federico García Lorca
04:49Federico García Lorca
05:12Good morning, Mr. Federico.
05:13Good morning, Mr. Federico.
05:14Good morning, Concha.
05:37Good morning, Federico García Lorca
06:05Federico García Lorca
06:32Do you want to walk for a while or would you prefer to sit down?
06:35Whatever you want.
06:36Come.
07:06Because?
07:09Because I ask myself that same question all the time.
07:12And I am never myself to everyone.
07:41And I'm never able to answer.
07:42Do you, do you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you,
07:48you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you,
07:49you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you,
07:49you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you,
07:50you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you, you,
07:54you, you, you, you, you, you, you, you, you, you
08:02will be calling upon my heart all the illusions eager to arrive if the roses that
08:10They smell of women, they wither at my slow sobbing. My father has suggested I go to a boarding school.
08:26I'm going to school in Bologna, Italy, but I prefer to go to Madrid. My friends write to me and tell me about it.
08:34that they do. In Madrid I would feel less alone. There I could meet the people I'm interested in. I could
08:45work. I've spoken to your parents many times, Federico, as many times as I've spoken to you.
08:51I will give you letters of recommendation for all those people who can help you and whom I
08:56Get to know her naturally. For now, you already have an appointment at the residence director's
09:01students as soon as you arrive in Madrid. If I were you, I wouldn't wait until next year, but would do the
09:09suitcases this spring. That's what we all think. You tell me what you think. I'll leave this
09:21Spring. When Federico García Lorca arrives in Madrid, an epidemic, the Spanish flu, is raging.
09:28ravaged the entire country and Europe, causing thousands of deaths. The war ended a year ago.
09:35global. The impact of the Soviet revolution and the fear of its possible resurgence in countries like Spain,
09:42It mobilizes all national and European bourgeoisies and middle classes.
09:48In the case of Spain, it precipitates the crown towards an alliance with the civilian and military sectors.
09:54more opposed to any form of progress. A treaty with France, signed in 1912, had
10:02The territory of Morocco was divided into two zones, with the aim of exercising a protectorate over it.
10:07peaceful. Over time, a significant sector of the military has exerted pressure to assert and maintain a presence.
10:15more aggressive and prestigious in Africa. The first pockets of resistance appear in the Rif region.
10:29The letter of introduction that Fernando de los Ríos gave to Federico García Lorca for his friend Juan
10:35Ramón Jiménez simply said, my dear poet, there goes that boy full of romantic longings,
10:43Receive him with love, for he deserves it. He is one of the young men in whom we have placed the highest hopes.
10:50It reminds me of my arrival in Madrid, a long time ago. Salvador Rueda and [other people] were waiting for me at the station.
10:58Villa Espesa, the poetry of that time. Later that same day, I spoke with Vallín Clán and with Rubén Darío.
11:10I was 19 years old then. How old are you now?
11:1520.
11:1620.
11:20At this hour, the noise from the street makes the garden unbearable.
11:25Noise? I don't hear it.
11:27It's a constant rumor that prevents us from working.
11:31Although I am younger than you.
11:35I am only two years old.
11:37Yeah.
11:39On the 17th I decided to tear up everything I had written up to that point and start over.
11:46That is the date of my birth as a poet.
11:49The 17th.
11:54Could I ask you to read me some of what you've written?
11:57Yeah.
12:03Cicada, cicada, blessed are you, who on the bed of earth die drunk with light.
12:10You know the secret of the countryside.
12:12A month later, Juan Ramón answered Don Fernando's letter saying.
12:17Their poet came and made an excellent impression on me.
12:21I think he has a great temperament and, in my opinion, the essential virtue in art.
12:28Enthusiasm.
12:29She read me several very beautiful compositions, a little long perhaps, but conciseness will come to her on its own.
12:37It would be very nice for me not to lose sight of him.
12:41It's very nice.
12:43Very good.
12:45Thank you.
12:47Do you plan to stay and live in the residence?
12:49That's how it is.
12:50I hope you don't have any problems.
12:53Do you know her?
12:54Not yet.
12:55When you get to know her, you'll see how poetry can also be made by planting flowers and creating gardens.
13:01Poplars, oleanders, irises, all the plants that turn green.
13:07In that place, which was a wasteland, I took charge of planting them.
13:11All.
13:13The student residence.
13:15An institution that shines with its own light in the gloomy panorama of Spanish culture at the beginning of the 20th century.
13:23Founded in 1910 by Alberto Jiménez Fraud, it was a product of the free institution of teaching and would leave a lasting mark
13:30deep in Spanish culture.
13:33Designed in the image and likeness of English schools, the residence was not only intended to offer good accommodation to students
13:40comfortable, but to form an intellectual vanguard, educated in culture, freedom, knowledge and a feeling of love for
13:49Spain.
13:51This refined place, far from the often gloomy guesthouses where students from
13:59In the provinces, Federico García Lorca arrives seeking a place for the following academic year.
14:31Have I never seen you before?
14:33Never. This is my first time here. I am José Bello. They call me Pepín.
14:38I am Federico.
14:40They call me... Federico.
14:44Have you seen how desolate it is?
14:46Is there no one else?
14:47Yes, several. They're in bed with the flu. Others have gone home to recover. Some are...
14:53He was admitted to the hospital. That's why the nursing home looks like a cemetery.
14:58What were you doing?
15:00Just looking around.
15:01It's possible I'll have a place in October.
15:03I'll show you my room. Come in, I'll make some tea and we can chat for a while.
15:09Thank you.
15:12How beautiful.
15:18Did you speak with Don Alberto?
15:19Yes, until a few minutes ago. He couldn't come with me because he had another visitor, but he insisted that I see everything.
15:25without rushing.
15:32There's someone else besides you who isn't sick, I'm sure.
15:35The athlete?
15:35Uh-huh.
15:37He's a student from Aragon. His name is Luis Buñuel. And he's always doing stupid things. I'm also from Aragon, and I don't practice.
15:43physical culture.
15:44How long did you talk to Don Alberto?
15:47A lot. An hour and a half or more.
15:49Then we'll have you here in October.
15:52What do you do?
15:54Nothing.
15:55Nothing, nothing?
15:56Nothing, something.
15:58I write poetry, I study, I play the piano...
16:01Sorry.
16:03Is it new?
16:05Yeah.
16:10He has a big head.
16:13I know.
16:14Ha ha ha!
16:16Ha ha ha!
16:30Lluís! Lluís! Come up! Fast!
16:38Look, look at the nonsense this macabre fellow is saying.
16:41Read, read!
16:42When I leave you the picanor, it doesn't throw contempt either.
16:44No way, no way!
16:45Come on, let's go!
16:46He doesn't exist; he thinks he's right.
16:47Come on!
16:52It's cold here, as always.
16:54And what about you? Are you never going to get up?
16:56Well, what are you doing here?
16:58Leave me alone.
17:00I have a lot of work.
17:01I need to finish this right away.
17:03It's my first play.
17:04A commission from Don Gregorio Martínez Sierra for Catalina Bárcena.
17:09What's it called?
17:10I don't know yet.
17:12The low-budget comedy, the star of the Prado...
17:15What do I know?
17:16All I know is that we'll be premiering at the Teatro Eslava soon and I have to finish.
17:20Hey! I'm here!
17:23My God.
17:24What did you want from me?
17:25Let's play anaglyphs so Federico knows what's good.
17:28No.
17:29When I return you will read me the best.
17:31And I will overcome it easily.
17:36Okay, but you'll have to explain to me what it's about.
17:39An anaglyph consists of three nouns.
17:42The first one is repeated twice.
17:44The second one is the hen, necessarily.
17:49And the third one has to have surprising and unexpected phonetic conditions.
17:53I have one.
17:55The owl.
17:56The owl.
17:57The hen.
17:58And the pancreator.
18:03Tea.
18:04Tea.
18:06The hen.
18:07And the Teotocópolis.
18:09Very good!
18:11I propose a variation.
18:13Instead of the third noun, a complete sentence.
18:15For example, the...
18:16The fool.
18:18The fool.
18:19The hen.
18:20And there must be a fly around somewhere.
18:23Stop, stop, stop!
18:24Stop, stop!
18:24Stop, stop!
18:25I have a really good one.
18:27Here it goes.
18:28Guillermo de Torre.
18:30Guillermo de Torre.
18:31The hen.
18:33And there must be some swarm around there somewhere.
18:36My Andalusian dog!
18:38The premiere of The Butterfly's Spell, my first play, on March 22, 1920,
18:45at the Teatro Eslava in Madrid, it ended with a memorable kick.
18:49Despite the good work of the director, Gregorio Martínez Sierra, and the talent of Catalina Bárcena,
18:56of the grace of the little silver girl in the butterfly dance with music by Grieg,
19:00of Mignoni's sets and Barradas' costumes,
19:03The public didn't like that poetic fable about insects, beetles, and butterflies at all.
19:12Yes, they gave me a huge, huge kick.
19:16Zotal! Zotal! Zotal! Spray it with Zotal!
19:22That was the funniest thing, don't you remember?
19:24When you, Marolito Collado, like the scorpion, said that about...
19:27I just ate a worm, which was delicious.
19:31Soft and sweet, mmm! Yum!
19:35Someone in the audience shouted, "Put Zotal on him!"
19:38And the theater erupted in laughter.
19:43But what is Zotal, Federico?
19:47Ah, my little Argentinian girl! My heart!
19:51Zotal is a disinfectant, a bug killer.
19:54But that wasn't directed at you.
19:56The little Argentinian girl danced wonderfully.
19:58Is this the only time the audience has been silent?
20:01Gregorio is right. The work couldn't actually be heard.
20:04If that's any consolation, Catalina.
20:06But remember, as soon as you, disguised as beetles,
20:10Have you started moving your elytra?
20:13Oh my God, what a mess!
20:18Well, what can we do?
20:20The construction won't last three more days.
20:23A beautiful failure?
20:25Relative.
20:26Because you'll see how all the critics will recognize what a great poet you are.
20:30But it's a failure.
20:31So I don't see why you're laughing so much.
20:35Don Gregorio, this laughter today is my laughter from yesterday.
20:40I have a healthy laugh for everything.
20:42It's my laughter from childhood and the countryside.
20:44It is my wild laughter that I will always defend, always, until I die.
20:50Even if they kill me with Zotal.
20:57Critics in Madrid newspapers highlighted the poetry of the work.
21:02They lamented its lack of theatricality and the absence of dramatic elements.
21:08Federico hid the first failure of his life under a disguise of indifference and irony.
21:14On the journey to Granada during that summer's holidays,
21:18His purpose was to reflect on his studies and dedications.
21:22About his own life.
21:24Those months in the city would give him the opportunity to become close to Manuel de Falla,
21:30the powerful musician from Cadiz who has moved his residence to the red hill of the Alhambra.
21:45We only ask one thing of you.
21:47In exchange for your stay in Madrid, and for me taking charge of editing your new book,
21:52in exchange for everything I can do for you, which I will do,
21:56We just want you to finish the courses you started.
22:00You will follow the path you want to follow, that's enough.
22:04You have complete freedom and our consent.
22:07But you have to finish your studies, Federico.
22:11Paquito brilliantly completes his degree and has time to read and cultivate himself.
22:16He meets people, he writes, but he fulfills his obligation every year.
22:21Paquito is Paquito.
22:22Already.
22:23And I'm a disaster, a failure.
22:26But I'm going to study.
22:28I've enrolled here in Granada, and I'll take my exam in September.
22:32I will study during the summer.
22:34And if I fail, I'll stay here studying during the winter.
22:38You don't have to think about that anymore.
22:42Don't look like you don't believe it, Mom.
22:45I will study.
22:47Or rather, I will try to study.
22:51I promise you.
22:53I promise you?
22:55If you were to take any subjects in September, I would let you go to Madrid with more joy than if you had made me
23:01emperor.
23:16But there will be a seat.
23:18Oh my God, this is unbearable.
23:21But who has blinded me to stumble over you?
23:25Christ our Lord on Calvary did not suffer as much as I do.
23:28Oh, Virgin of Sorrows.
23:30What a bitter cup you're making me drink, baby.
23:33Just leave.
23:34Just leave.
23:36Leave and never come back to the catufero.
23:37Leave me alone.
23:38I'd rather dress saints than wear the headdress of your daily catalineta.
23:42Condemned.
23:43Damn the day I started listening to you.
23:46Go away.
23:46Go away.
23:47Go away, you scribbled candy.
23:50It is sick.
23:51Corremundo.
23:52Red Jew.
23:54Silly, silly.
23:55With all the good suitors one has had, and to pay attention to that old fool.
24:14It is sick.
24:16Corremundo.
24:17Red Jew.
24:19It's always like this.
24:20The other day he told me, miss, I was so suffocated that the dresser creaked.
24:26What a character.
24:27If I ever write anything for the theater again, I will remember your child.
24:36We've arrived a little late.
24:38Master Falle is working.
24:41And from now until nightfall, he cannot be interrupted.
24:49What is it?
24:51I think he's been given an assignment in Paris.
24:53And he has found a motif taken from Don Quixote.
24:56Master Peter's altarpiece.
25:26Thank you!
25:39Thank you!
26:26Thank you!
26:55Thank you!
26:58Thank you!
27:05Thank you!
27:07Thank you!
27:08Thank you!
27:09Thank you!
27:10Thank you!
27:10Thank you!
27:11Now I give guitar lessons with two gypsies,
27:13the Lombard and the little bottle, the one from the fountain.
27:16They teach me how to accompany tarantas, bulerías and romeras.
27:20One day I will take him to meet my teachers.
27:22I would like that very much.
27:24Listen, Federico, Miguel Cerón and other friends passed on an idea to me.
27:27and I've made it my own.
27:29The idea would be to find where they are located.
27:31to the best and most authentic flamenco singers in all of Andalusia
27:34to save the flamenco singing that is being lost.
27:38Fantastic!
27:38If you ever think of doing any of that,
27:41Look for me wherever I am, please.
27:43I will help you in any way I can.
27:44I won't forget.
27:45What are you going to do this summer?
27:47I've already told him.
27:48Flamenco guitar with my teachers
27:51and a little studying to please my parents.
27:55Federico.
27:55Thank you.
27:56I write occasionally and I dream constantly.
28:01What dream?
28:04Good things.
28:05I dream that I travel around the world playing and singing.
28:09I'm writing something about Mariana Pineda
28:13and that it is a great success.
28:16And other things too.
28:19Let's toast to their dreams.
28:21Thank you.
28:21Health.
28:24Spanish politics continues its hesitant course.
28:28In Barcelona, a war rages between employers and workers' leaders.
28:33Already in February 1921,
28:35Julián Besteiro had denounced the practice of the law of flight in the Cortes.
28:39which resulted in the deaths of several union leaders.
28:43As a result of their support for that procedure,
28:47He dies in an attack in the heart of the capital,
28:50The President of the Council of Ministers, Eduardo Dato.
28:54The war in Morocco is a permanent disaster
28:56And catastrophes follow one after another.
28:58Everything suggests a shift towards a situation of strength.
29:03Right at midnight on the last day of the year 1921,
29:07Federico and his brother Paco serenaded Manuel de Falla
29:11to show him their respect and veneration
29:14and also to be the first to congratulate him on his saint's day.
29:19Federico orchestrated the song of the will-o'-the-wisp
29:22for trombone, clarinet, tuba and cornet.
29:25Four musicians from the municipal band were in charge of playing it.
29:28And out came something devilish and wonderful.
29:32Falla and her sister María del Carmen received a delicious surprise.
29:38One, two, three...
29:39...
29:42...
29:44...
29:45...
29:46...
30:16Thank you!
30:32Congratulations, Manuel!
30:34Thank you so much, friends.
30:36Hey Federico, is that instrumentation yours?
30:38Yes, teacher.
30:39Well, it's really great.
30:40Not even the great Stravinsky could have dreamed it up better.
30:43We need to invite them.
30:45And now, if you want to come into this, your home,
30:48My sister and I are going to improvise something
30:50to celebrate my saint
30:51and thank them for the serenade.
30:53Please come in.
30:54My sister will open the door for them.
30:56Thank you, Manuel.
30:57Thank you so much.
30:58Did you see how he spoke to her?
30:59Yes, yes, yes.
31:02Thank you!
31:19The old idea becomes a reality.
31:22The call for the Cantejondo competition was made by Manuel de Falla.
31:27And Federico García Lorca is one of his main collaborators.
31:31The meeting will take place in Granada on June 13th and 14th of the year 22.
31:57Granada prepared itself to receive the artists, painters, poets, musicians, writers and flamenco artists,
32:04who had announced their visit from anywhere in Spain.
32:12Others come to Granada on foot from very far away.
32:23A few days before the big flamenco night,
32:26Lorca read his lecture at the Artistic Center of Granada
32:29The Cantejondo, primitive Andalusian song.
32:40Yesterday was a special day in Santiago.
33:06Manolo Ángeles Ortiz has painted a beautiful poster for our Cantejondo competition.
33:10which we have been able to organize thanks to the maestro Manuel de Falla,
33:14Glory of Spain, enthusiastic fighter to save the genuine Andalusian song
33:18from the garbage of couplets and flamenco venues.
33:30Ignacio Zuloaga has decorated this square of the cisterns of the Alhambra in Granada.
33:36And to enhance the magic of this very special night,
33:39Many women have come dressed in the fashion of Spain
33:42by Prosper Merimé and Teofil Gautier.
34:13The most beautiful of all,
34:14It is undoubtedly my dear Emilia Llanos.
34:29One of the winners of the competition
34:32It was an 11-year-old boy named
34:33Manuel Ortega, the snail.
35:07The snail.
35:14The snail.
35:21Falla presides over the jury
35:23with Andrés Segovia and Don Antonio Chacón,
35:26Emperor of Cantejondo.
35:56And deep down, it stuck.
36:00Zuloaga also contributed one thousand pesetas towards the first prize.
36:04because the city council hasn't contributed much.
36:07For example, he has not wanted to invite Morir Rabel or Igor Stravinsky.
36:12What a saving and what a disappointment Falla has had.
36:17Granada remains the land of the chavico.
36:19Urinal.
36:22Oh, oh, oh, oh!
36:28Applause!
36:48The first prize for singing will go to this man, Diego Bermúdez, the Tenazas.
36:54An old singer who has come from Puente Genil.
37:25An old singer who has come from Puente Genil.
37:32The experience of this unique night confirms for me the Andalusian spirit of the poems I am now writing.
37:39I will title my new book Poem of the Deep Song.
37:46I imagine within myself, I imagine within myself.
38:07I want peace and quiet from the world, oh, when I remember you.
38:22Dear Melchor, I have decided that I will not move from here this autumn.
38:27I hope to take my exams in January, and once I've achieved my goal, my father, who's so insistent about my studies, will let me.
38:33run dirt.
38:35Once again, I've settled back into this life of conversation, walks until sunset from
38:40The Generalife, the discussions and the projects that are piling up in my head.
38:45I write quite a lot, however, I miss being a home.
38:50What new fun will they have now?
38:53What new game have they invented?
38:55Who will be chosen in this course to have to put up with the jokes?
39:00Mr. Dalí, Don Alberto is waiting for you.
39:10That autumn of 1922, while Lorca was absent from the residence, he arrived to request admission to it.
39:17young Catalan from Figueres, named Salvador Dalí.
39:20His father and sister accompany him on the first day.
39:31Salvador Dalí appeared to the sarcastic eyes of the residents as a pitiful being, or at best...
39:37picturesque cases.
39:38Indeed, nothing could have formed a more violent contrast with his English-style suits and golf jackets.
39:44than Dalí's velvet jackets and flowing shawls.
39:49Nothing could be more diametrically opposed than their long, shaggy hair and the elegantly cut hair of the others, in which
39:57The barbers from the Ritz or the Palas worked regularly.
40:02Dalí thought that they were all possessed by a dandy complex, combined with cynicism, which they manifested with consummate worldliness.
40:11His fellow residents terrified him, and if they spoke to him, Dalí believed he was going to
40:18faint.
40:25One day, taking advantage of Dalí's absence, Pepín Bello slipped into Salvador's room and discovered
40:33with admiration paintings and drawings of extraordinary quality and craftsmanship.
40:43The news that the strange Catalan man was a talented painter spread through the residence hall, and from then on, the
40:51Dalí's room was filled with colleagues who came to watch him draw with that astonishing ease that caused their amazement.
40:58Dalí definitively won them over.
41:02Dalí?
41:10Dalí won them over, he insisted on the camera and their amazement.
41:13Dalí, Dalí, Dalí, Dalí, Dalí, Dalí.
41:16Dalí, Dalí, Dalí, Dalí, Dalí.
41:20Dalí, Dalí, Dalí.
41:26They put on a play in a house near here.
41:29And they invite us all if we want to go
41:31Where?
41:31I know where, whoever wants to come, let them come.
41:34Listen, folks, here's the program for this children's festival
41:37Today, January 6, 1923
41:40Feast of the Three Kings
41:42That I proclaim from the puppet theater window
41:45Before the eyes of the world
41:47First, Cervantes's interlude
41:49The two talkers
41:50With music by Igor Stravinsky
41:52The story of a soldier
41:54For clarinet, violin and piano
41:56Which is played by the maestro Manuel de Falla
41:59Beatriz, Beatriz
42:02Next, you will see the old Andaluz bridge
42:05Look, this gentleman is a soldier and my cousin
42:09Give him lots of gifts, for he is to enter the court.
42:12Well, if you go to court
42:15I arrived warned not to be so hunched over.
42:17Because shrinking is the lineage of foolishness
42:19And the fool is close to being helpless
42:21And he deserves it.
42:23Because understanding is the light of all human actions
42:26And every action
42:28Oh, think that it consists of
42:30Think about what the arrangement of nature consists of.
42:33Because nature works through bodily instruments
42:36And it arranges the senses, which are five.
42:39Walk, play, run, and think, and don't get in the way.
42:42He who obstructs is ignorant.
42:44And ignorance is not falling into things
42:46He who falls gets up.
42:48And he who rises up to God gives him a good Easter.
42:50That's four
42:50Christmas, Epiphany, Easter, and Pentecost
42:53That is an exquisite word
42:55How exquisite?
42:57Everything exquisite is extraordinary.
42:59The ordinary woman does not admire
43:01Great things are born from admiration.
43:03The highest thing in the world is stillness
43:05The lowest malice
43:06Because there are three ages in all things
43:08The beginning, the rise, and the decline
43:11Decline, you said
43:13And he said it well.
43:14Because names are declined
43:15And verbs are conjugated
43:17And the reason for this
43:18Step by step, step by step!
43:20What is this, husband?
43:21What kind of man is this you have brought into my house?
43:23Oh my God!
43:24What a way to make me careless!
43:27Oh, oh, soon!
43:33Attention, attention
43:35A resurrected man who returns
43:37A lost soul who returns to our side
43:39The one we were all waiting for
43:42One moment!
43:58Hello
43:59Hi Federico, how are you?
44:01Very good
44:02Welcome
44:02Thank you
44:04Federico
44:05Luis
44:07Did you finish any degree programs?
44:09Yeah
44:09Right
44:10And you?
44:11From an agricultural engineer?
44:12Nothing
44:12Then natural sciences
44:14I am currently studying philosophy and literature.
44:16And what about you, Pepín?
44:18I don't like to talk about those topics
44:22Tell us what you've written
44:23And what you do
44:25I have written many things
44:26You can count on me reading them to you 50 times.
44:29I'm with Mariana Pineda now
44:31You know
44:32The flag of freedom and all that
44:35I've come to try everything
44:41Who is it?
44:42I've never seen it.
44:44Salvador Dalí
44:45We call him The Pole
44:47He's a Catalan who draws very well.
44:49He has a notary and generous father
44:51But he completely lacks a sense of humor
45:04I've been following the Ultraists because they were the ones who interested me the most.
45:08Guillermo de Torre, Chabás, Rivas, Borges
45:11Guillermo wants me to join them
45:13But I don't want to
45:13I am me
45:15Do you believe in God?
45:16What question?
45:17Do you think so?
45:18I'll ask myself that and answer you later.
45:21Maybe not
45:22But living without everything that is religion or religious would be difficult for me.
45:26Wait
45:29But what are you doing?
45:32Where are you going?
45:34I'm going to my room
45:36Come, we'll listen to jazz
45:41Bring me my shoes
45:42Come on!
45:49Come on!
45:52Come on!
46:09Come on!
46:23Music
46:37I sing or galo come no day, erguete meu bene baite
46:40I sing or galo come no day, erguete meu bene baite
46:44How do I dei darling, how do I dei king leave you?
46:47How do I dei darling, how do I dei king leave you?
46:57Where is this from? Does anyone know?
47:05The waiters of Bon León
47:08They left early
47:12Oh, oh
47:14They left early
47:17From Salamanca, that's what they sing in the Salamanca region
47:20Correct!
47:22Can!
47:24This is where people will live!
47:26To see the level, the level!
47:29To see the elevation of our location!
47:33Long live Aragon! Long live Huesca! Long live Colonda!
47:42Here's a bit of my own production
47:51On the bare mountain
47:53An ordeal
47:54Clear water and centuries-old olive trees
47:58Through the narrow streets
48:00Masked men
48:02And in the towers
48:04Weather vanes turning
48:07Eternally spinning
48:10Oh, lost village
48:12In the Andalusia of tears
48:16Very good!
48:18Bravo!
48:19Bravo!
48:20Bravo!
48:20Very good!
48:22He had a gentleman determined to spread our songs abroad
48:26He translated many of them into all languages
48:29This is the result of the transfer of some popular Sevillanas.
48:33To German
48:36Oh, cox Seville! Oh, cox Seville!
48:43Tell me, Seville! Olive! Swallow!
48:47¡Aunz del multillo ya fue el estar que se pué!
48:51Oh, Seville!
48:53Bravo!
49:15You draw like an angel
49:17I have heard your poems and they impress me greatly
49:21I think I've discovered poetry
49:22Thank you
49:23But you have poetry too.
49:25You don't need to look for it outside.
49:27They are two different forms of poetry
49:30It's true
49:34Tell me what you mean by your drawings
49:37What are your beliefs?
49:40What are you looking for?
49:43Nothing
49:45Or everything
49:48I believe in geometry
49:49Not in feeling or emotion
49:52Only in geometry
49:55So why do you like what you hear me recite?
49:57Because it has a shape
49:58A perfect shape
49:59And I like your drawings because they have emotion.
50:01And feeling
50:04I hate those words
50:05But it's true
50:08Are you familiar with Picasso's latest paintings?
50:10No
50:11He is the greatest
50:13The greatest of all
50:41What do you like about what you hear me say?
51:04Thank you!
51:29You see, it's possible that feeling and emotion are everywhere.
51:33But he, he doesn't use them either, nor does he take advantage of them for anything.
51:44Thank you!
51:44Ha ha ha!
51:45Ha ha ha!
51:47Ha ha ha!
51:48Ha ha ha!
51:57Ha ha ha!
51:59Ha ha ha!
52:00Ha ha ha!
52:02Ha ha ha!
52:04Ha ha ha!
52:40Ha ha ha!
53:07Ha ha ha!
53:38Ha ha!
54:03Ha ha!
54:30Ha ha!
54:33Ha ha!
54:34Ha ha!
54:34Ha ha ha!
54:36Ha ha ha!
54:36Ha ha ha!