Romance sonámbulo.

A Gloria Giner y Fernando de los Ríos 

Verde que te quiero verde. 
Verde viento. Verdes ramas. 
El barco sobre la mar 
y el caballo en la montaña. 
Con la sombra en la cintura 
ella sueña en su baranda 
verde carne, pelo verde, 
con ojos de fría plata. 
Verde que te quiero verde. 
Bajo la luna gitana, 
las cosas la están mirando 
y ella no puede mirarlas. 

Verde que te quiero verde. 
Grandes estrellas de escarcha, 
vienen con el pez de sombra 
que abre el camino del alba. 
La higuera frota su viento 
con la lija de sus ramas, 
y el monte, gato garduño, 
eriza sus pitas agrias. 
¿Pero quién vendrá? ¿Y por dónde...? 
Ella sigue en su baranda, 
verde carne, pelo verde, 
soñando en la mar amarga. 

Compadre, quiero cambiar 
mi caballo por su casa, 
mi montura por su espejo, 
mi cuchillo por su manta. 
Compadre, vengo sangrando 
desde los puertos de Cabra.

Si yo pudiera, mocito, 
este trato se cerraba. 
Pero yo ya no soy yo, 
ni mi casa es ya mi casa.

Compadre, quiero morir 
decentemente en mi cama. 
De acero, si puede ser, 
con las sábanas de holanda. 
¿ No veis la herida que tengo 
desde el pecho a la garganta?

Trescientas rosas morenas 
lleva tu pechera blanca. 
Tu sangre rezuma y huele 
alrededor de tu faja. 
Pero yo ya no soy yo. 
Ni mi casa es ya mi casa.

Dejadme subir al menos 
hasta las altas barandas, 
¡Dejadme subir!, dejadme 
hasta las altas barandas. 
Barandales de la luna 
por donde retumba el agua. 

Ya suben los dos compadres 
hacia las altas barandas. 
Dejando un rastro de sangre. 
Dejando un rastro de lágrimas. 
Temblaban en los tejados 
farolillos de hojalata. 
Mil panderos de cristal, 
herían la madrugada. 

Verde que te quiero verde, 
verde viento, verdes ramas. 
Los dos compadres subieron. 
El largo viento dejaba 
en la boca un raro gusto 
de hiel, de menta y de albahaca.

¡Compadre! ¿Dónde está, dime? 
¿Dónde está tu niña amarga?

¡Cuántas veces te esperó! 
¡Cuántas veces te esperara, 
cara fresca, negro pelo, 
en esta verde baranda! 

Sobre el rostro del aljibe, 
se mecía la gitana. 
Verde carne, pelo verde, 
con ojos de fría plata. 
Un carámbano de luna 
la sostiene sobre el agua. 
La noche se puso íntima 
como una pequeña plaza. 
Guardias civiles borrachos 
en la puerta golpeaban.

Verde que te quiero verde. 
Verde viento. Verdes ramas. 
El barco sobre la mar. 
Y el caballo en la montaña. 

Frederico Garcia Lorca (1898-1936)  ROMANCERO GITANO (1924-1927)

Filme Aleksandr Balagura


Canção Nana de Sevilla, Lorca y la Argentinita

https://youtu.be/LaHejLDqXvY?list=RDLaHejLDqXvY

https://youtu.be/LaHejLDqXvY?list=RDLaHejLDqXvY


Paco de Lucía, Entre dos aguas
https://youtu.be/2oyhlad64-s

espero devagar
os dias soletrados da eternidade

e na casa vazia
há espelhos escurecidos 
na magra luz da ausência

não é o futuro
passado subornado?

como podemos ver tanto
num minúsculo quarto às escuras?

talvez a mão deslize agora
e borde na fímbria dos lençóis
o rio a dor que em ti transborda!

2015 josé

música
DakhaBrakha - Nad dunaem
https://youtu.be/qt6E5yxy-uc

Imagem do filme Terra (Земля) de Dovzhenko

um trenó que desliza no mais profundo de nós!
j

schnittke

para ver na razão estagnada da dor
j

filme Восхождение, A Escalada, da malograda Larisa Shepitko

Um tesouro enterrado nos séculos que habitam o sangue dos povos!
j

Dovzhenko, Filme Zvenigora

Alexander Petrovich Dovzhenko (Ukrainian: Олександр Петрович Довженко, Oleksandr Petrovych Dovzhenko; Russian: Алекса́ндр Петро́вич Довже́нко, Aleksandr Petrovich Dovzhenko; September 10 [O.S. August 29] 1894 – November 25, 1956), was a Soviet screenwriter, film producer and director of Ukrainian origin. He is often cited as one of the most important early Soviet filmmakers, alongside Sergei Eisenstein and Vsevolod Pudovkin, as well as being a pioneer of Soviet montage theory.

Alexander Dovzhenko was born in the district of Viunyshche in Sosnytsia, a townlet located in the Russian Empire (now in the Chernihiv Oblast in Ukraine), to Petro Semenovych Dovzhenko and Odarka Ermolaivna Dovzhenko. His paternal ancestors were Cossacks who settled in Sosnytsia in the eighteenth century, coming from the neighbouring province of Poltava. Alexander was the seventh of fourteen children, but due to the horrific rate of child loss he became the oldest child by the time he turned eleven (only Alexander and his sister Polina survived).

Although his parents were uneducated, Dovzhenko's semi-literate grandfather encouraged him to study, leading him to become a teacher at the age of 19. He escaped military service during both World War I and the Russian Revolution because of a heart condition, but did join the Communist Party in the early 1920s. He served as an assistant to the Ambassador in Warsaw as well as Berlin. Upon his return to USSR in 1923, he began illustrating books and drawing cartoons in Kharkiv.

Dovzhenko turned to film in 1926 when he landed in Odessa. His ambitious drive led to the production of his second-ever screenplay, Vasya the Reformer (which he also co-directed). He gained greater success with Zvenyhora in 1928 which established him as a major filmmaker of his era. His following "Ukraine Trilogy" (Zvenigora, Arsenal, and Earth), although underappreciated by some contemporary Soviet critics (who found some of its realism counter-revolutionary), is his most well-known work in the West. For his film Shchors, Dovzhenko was awarded the Stalin Prize (1941); eight years later, in 1949, he was awarded another Stalin Prize for his film Michurin.

Dovzhenko served as a wartime journalist for the Red Army during World War II. After spending several years writing, co-writing and producing films at Mosfilm Studios in Moscow, he turned to writing novels. Over a 20 year career, Dovzhenko personally directed only 7 films.

He was a mentor to the young Soviet filmmakers Larisa Shepitko and Serhiy Paradzhanov. Dovzhenko died of a heart attack on November 25, 1956 in his dacha in Peredelkino. His wife, Yulia Solntseva continued his legacy by producing films of her own and completing projects Dovzhenko was not able to create.

The Dovzhenko Film Studios in Kiev were named after him in his honour following his death.

wikipédia

A lenda transformada em História!

obscuros são os segredos da terra
a luz parada nas veias
e o olhar de quem constrói teias
no corpo que a morte encerra!
bmm

zvenigora