Da poesia de Buñuel ao cinema de Garcia Lorca

Abstract

In this paper I will attempt to discuss the relationship of Federico García Lorca, namely in his Poetaen Nueva York (1929-30), with the film director Luis Buñuel, his contemporary. I will essentially tryto highlight the process of construction/editing of Lorca’s poetic texts, linking them to Buñuel’s firstfeature, Un Chien Andalou, generally viewed as on of the few truly surrealist films. I shall bring tothe fore the hard task of the director, in his attempt to articulate the material constraints of the cinemawith the ideas of André Breton’s followers, who stood for, among other things, the accomplishmentof a work born out of automatic writing, and of the unveiling of the author’s unconscious – the reasonwhy Lorca never wanted to be included among the movement. I shall also discuss a script written byLorca, in which the traces of surrealism (never assumed by the author) are clearer than in the rest ofhis poetic work; towards the end, I will try to underline possible correspondences of this script toBuñuel’s Un Chien Andalou.