#OTD in 1920.
Federico García Lorca's first play, The Butterfly's Evil Spell (El maleficio de la mariposa) is poorly received at its première in Madrid.
With only four performances, very poorly received by the public, including booing, it was a total failure for its author. The text, written in verse, is a parable about frustration, love and death; recurring themes in Lorca's work.
https://en.wikipedia.org/wiki/The_Butterfly%27s_Evil_Spell
Garcia Lorca at PG:
https://www.gutenberg.org/ebooks/author/56772
![One obvious obstacle to physical authenticity is Silver’s leg: cut “close by the hip” in the text, all the actors to play him are bipedal; therefore, they all had to fold and secure their left legs in what must presumably be a very uncomfortable position, making the role physically challenging (Stevenson [1883] 2012, p. 85). Such an arrangement must also make moving like Stevenson’s Silver very difficult. Fleming accounts for this by using an action double for Beery, most clearly in his murder of Tom, allowing the audience to believe in his physical prowess. Newton maneuvers impressively on the crutch but does little to convince the viewer of any physical threat. This fact allows for film adaptations to further soften the Silver character as we will discuss in the next two sections: where Stevenson’s Silver appears to use his disfigurement to disguise his physical abilities, making him dangerous, film adaptations often use it to blunt any real threat. Charlton Heston, for example, is a menacing presence in the 1990 Turner Pictures adaptation, but his age and awkwardness of movement are a clear contrast with Wyeth’s dynamic, nimble Silver. With the possible exception of Tim Curry—who is younger and more agile than his cinematic counterparts—in the playful 1996 film Muppet Treasure Island, the Silver of the screen must rely more on his wits, his charm, and his presence of character, than on any physical threat he poses, in order to manipulate his crew, Jim, or Jim’s friends.](/proxy/post_attachment/1039505/19318b1c30.webp "One obvious obstacle to physical authenticity is Silver’s leg: cut “close by the hip” in the text, all the actors to play him are bipedal; therefore, they all had to fold and secure their left legs in what must presumably be a very uncomfortable position, making the role physically challenging (Stevenson [1883] 2012, p. 85). Such an arrangement must also make moving like Stevenson’s Silver very difficult. Fleming accounts for this by using an action double for Beery, most clearly in his murder of Tom, allowing the audience to believe in his physical prowess. Newton maneuvers impressively on the crutch but does little to convince the viewer of any physical threat. This fact allows for film adaptations to further soften the Silver character as we will discuss in the next two sections: where Stevenson’s Silver appears to use his disfigurement to disguise his physical abilities, making him dangerous, film adaptations often use it to blunt any real threat. Charlton Heston, for example, is a menacing presence in the 1990 Turner Pictures adaptation, but his age and awkwardness of movement are a clear contrast with Wyeth’s dynamic, nimble Silver. With the possible exception of Tim Curry—who is younger and more agile than his cinematic counterparts—in the playful 1996 film Muppet Treasure Island, the Silver of the screen must rely more on his wits, his charm, and his presence of character, than on any physical threat he poses, in order to manipulate his crew, Jim, or Jim’s friends.")
