{"id":7651,"date":"2021-08-05T10:11:25","date_gmt":"2021-08-05T10:11:25","guid":{"rendered":"https:\/\/www.universolorca.com\/vinculo-obra-literar\/tea_08-17\/"},"modified":"2021-09-13T15:35:10","modified_gmt":"2021-09-13T15:35:10","slug":"tea_08-17","status":"publish","type":"vinculo_obra_literar","link":"https:\/\/www.universolorca.com\/en\/vinculo-obra-literar\/tea_08-17\/","title":{"rendered":"TEA_08-17"},"content":{"rendered":"<p>In an interview signed by Nicol\u00e1s Gonz\u00e1lez-Deleito published in the Madrid magazine <em>Escena<\/em>, in May 1935, he evokes his leisurely way of writing: &#8220;It took me five years to write <a href=\"https:\/\/www.universolorca.com\/en\/obra-literaria\/bodas-de-sangre-tragedia-en-tres-actos-y-siete-cuadros\/\"><em>Blood wedding<\/em><\/a>; three I invested in <em>Yerma<\/em>&#8230; Both works are the fruit of reality. Their figures are real; as is the theme of each of them&#8230; First note, observations taken from life itself, from the newspaper at times&#8230; Then, thinking about the subject. A long, constant, detailed thought. And finally, the final transfer: from the mind to the stage&#8230;\u201d.<\/p>\n","protected":false},"template":"","class_list":["post-7651","vinculo_obra_literar","type-vinculo_obra_literar","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/vinculo_obra_literar\/7651"}],"collection":[{"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/vinculo_obra_literar"}],"about":[{"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/types\/vinculo_obra_literar"}],"wp:attachment":[{"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/media?parent=7651"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}