perfection by fighting his duende, not his angel, as has been said, nor his muse. This distinction is fundamental, at the very root of the work” (44). For Deep Song, I felt like I needed to keep the imagery really simplistic and I didn’t in a conscious way use the Play and Theory of the Duende. I think that there were some things that were important to me in the beginning, like “The duende is not in the throat, the duende climbs up inside you from the soles of the feet,” (43) just reading that would help me, too, when I was first beginning to do that. “[I]t is not a question of ability, but of true, living style, of blood, of the most ancient culture, of spontaneous creation” (43). It moves a way into a place that I didn’t really read in terms of my imagery, but in reading it, it helped in the beginning. I only read it once. But it wasn’t really even necessary; I was just looking at some of the things that I underlined. I think that I did copy that for you. Lea Clay Thank you. Terese Capucilli This is all very beautiful, “In the garden / I will die. / In the roses they will kill me. / I was going mother, / to pick roses to find death” (49); I read all of that and now when I’m reading it, I probably put it all into my psyche and used it. But the things that I went back to continually were the beginning things that I read because they spoke to me a little bit clearer. You don’t want a lot of things going on in your head, but the “only to the Earth do I tell my troubles, for there is no one in the world whom I can trust” (Deep Song and Other Prose 34) could carry me through the whole ballet. What I read in totality prior to that becomes part of my being, becomes part of the fabric of the dance already. [We watch the performance of Deep Song again]
Published on May 7, 2014
Esferas is an undergraduate student and alumni initiative from New York University’s Department of Spanish and Portuguese. We are a peer-re...