Many modern playwrights attempt to connect contemporary issues with ancient themes by updating the stories of mythical tales into a thoroughly modern setting. With Blood Wedding, Federico Garcia Lorca seeks to explore this idea of ​​connectivity through an alternative route in which the lush Andalusian wine region he knew so well is transformed into a rawer landscape, more suited to the symbolic interpretation of mythical themes exhibited through 'incorporation of stylized dramatic scenes. devices that include singing and chanting, recitation of poetry, and unrealistic stage designs. Blood Wedding makes manifest the definition of setting as something more than a simple geographical location and a finite time, revealing that it is a broader term in which political, sociological and economic dimensions are also at play. Andalusia thus becomes a Blood Wedding setting invested with the literal reality of its women's physical and emotional isolation in the historical context of contemporary 1930s life, while simultaneously situating the setting as a conceptual idea in which symbols become essential to understand the most important themes. contributing to the mythical sense of the timeless tragedy of the work. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssaySetting can be a symbolic encapsulation of social relationships that have taken place over long periods of time where cause and effect create generational conflicts and disputes that explode at the climax as the focus of narrative momentum and that sense of setting in Blood Wedding is personified in the figure of the groom's mother. The cemetery thus becomes a symbol of those generational conflicts as well as simply being the final resting place of his dwindling loved ones. When the mother states early on that she “can't leave your father and brother here alone” it is more than just a melancholy reminder of a personal loss. The mother's inability to let go of the deaths of her husband and son becomes an inability to let go of the impact of a family feud rooted in the very history of the land. The enormity of the impact of time and place is summed up in a simple but poignant response to complaints about his obsessive mourning: “If I lived a hundred years I couldn't talk about anything else.” Here is a concrete example of how the setting can become more figurative than literal when the mother herself takes on the role of sowing generational conflict. As long as he doesn't talk about anything, the long history of feudal conflict between families promises to spread like a virus to anyone he talks to. Even – perhaps above all – his son. It is that child who expresses the complaint against his obsession with the loss and the intrinsic meaning behind that loss that points to those responsible. The mother has forged for her son a portrait of the small Andalusian region he calls home, full of death, regret, violence, revenge and blood. That portrait is the one he must embrace or against which he must rebel. The symbolism that this aspect of the setting has had on him is twofold: the embrace against which he ultimately rebels. A literal realization of how the setting facilitates understanding of the play's themes is provided by the event upon which the plot develops: a traditional Andalusian arranged marriage. where the expectations of society enjoy greater status than the desires of the individual. To the mother's lament about "how far away these people live" comes the son's almost mechanical reply "but their land is good". Literally, the bride is an agent of setting through geographic isolation, but symbolicallyrepresents generational expectation and convention that dates back to an unknown period of time. This isolation of the bride allows her to be defined as a symbol. Its purity is represented by the language as “a four-hour journey” to get to the “dry.plain” where it waits. When the bride's father joins in this conversation, the topic remains firmly in place; rather than talking about the individual desire of her daughter or her fiancé, the topic remains on the value of the land. The setting here directly translates the impending nuptials from a union of two individuals in love into an economic transaction committed to the benefit of the collective entity of those who have a stake in the land. The portrayal of the bride as both physically and emotionally remote carries with it the implicit assumption of intact virginity, which sets the stage for the play's thematic concerns with fertility, but also reinforces its significance as a transactional unit in the ritual continuation of conventions social. The conservatism of staunchly Catholic Spanish life is exhibited by descriptive images in which “hard white material covers the walls” of “the interior of the cave where the Bride lives.” Such images place the symbolic expectation of women in this culture to be chaste until marriage and then reproduce machines thereafter. The individual reproduction of fertile wives becomes crucial in reproducing generational conflicts that pit families against each other. The setting is intensely linked to the work's highly symbolic treatment of its thematic connection of human fertility to more mythical conceptualizations of fertility. While the bride has clearly been placed firmly in the context of a dry, walled cave waiting to be explored, the groom is sexually energized through the symbolism of providing the watering needed to bring new life from that unsown land. The economic livelihood of the Andalusians depends on the fertility of the vine and therefore the father's observation that "Every bunch of grapes is like a pile of silver" has both a literal and symbolic meaning that can only be fully understood by understanding the historical context of the setting of the show. Those grapes worth so much silver are full of connotations of abundance and the vital importance of maintaining the fertility of the land from which they have grown for centuries. Furthermore, the simile can also be extended to emphasize the vital importance of the daughter's fertility for maintaining the balance of economic power with her marriage to the groom. Once again, the general and essential quality of generational conflict manifests itself through symbolic association with the literal qualities of the status afforded by the land. This meaning is emphasized when the bride states that her mother came from a “fertile country. Full of water” which is also linked to the symbolism of the groom as a vase that will water the arid plains of his betrothed. With the move away from the strictly realistic setting of the first two acts in the forest, the full mythical dimension and potential inherent in the setting of a play is realized when the woods take on the traditional dramatic role of a place where the rules and Society's conventions break down and are questioned. Once the action of the play moves into the forest, the traditional narrative structures of narrative dialogue are replaced by more figurative means of storytelling. The introduction of the woodcutters links the modernist sensibility of the political dimension of the Blood Wedding with the Greek chorus of ancient tragedy. When one of the woodcutters proclaims that “the groom will find them, moon or no moon. I saw him leave. As.