Confrontation and Issues in Lorca’s ‘House of Bernarda Alba’
Confrontation and Issues in Lorca’s House of Bernarda Alba
Thematic Depth and Lorca’s Universe
Lorca’s plays are characterized by their thematic depth and unity, mirroring the qualities found in his poetry. A central element in Lorca’s universe is the concept of frustration, which often leads to tragic fates. His characters, particularly women, are condemned to solitude or death due to their passions. These themes are explored through two primary lenses:
- The metaphysical: Where the enemy forces are time and death.
- The social: Where prejudices of caste, social conventions, and societal constraints impede fulfillment. These two planes often intersect.
This intricate weaving of themes makes Lorca a modern interpreter of classic tragic myths. His concept of theater is deeply rooted in the belief that artistic requirements are compatible with its educational function, accompanied by a growing social focus.
The Setting and Conflict
House of Bernarda Alba begins at dawn after the death of Bernarda’s second husband. She imposes an eight-year mourning period of confinement on her five daughters. This confinement, while rooted in tradition, becomes an extreme and oppressive force, elevating the play to the level of legend, symbol, and myth.
Within this extreme situation, conflicts, passions, and tensions escalate. The catalyst for these forces is Pepe el Romano, a suitor desired by Angustias (Bernarda’s eldest daughter) but attracted to Adela (the youngest) and loved by Martirio (another daughter). The daughters embody a range of attitudes, from passive submission to open rebellion, ultimately leading to irreparable consequences.
Themes of Frustration and Oppression
The play’s central theme of frustration is embodied in the opposition between authoritarian morality (represented by Bernarda) and the desire for freedom (represented by Adela and Maria Josefa). This highlights the clash between social norms and natural desires.
Other secondary themes explored in the play include:
- Sensual love and the pursuit of a man
- Social hypocrisy
- Envy and hatred
- Honor and social injustice
- Marginalization of women
- Violence and death
The most prevalent theme is the clash between authority (Bernarda) and freedom (Adela). This conflict is established from the beginning as Bernarda imposes oppressive rules, leveraging her authority as the head of the family. Adela and Maria Josefa rebel against this domination, while the other daughters and maids accept it, albeit with covert murmurs and occasional confrontations.
Bernarda’s authoritarianism is evident from her first appearance to her last words. She enforces the eight-year mourning period, suppressing even the mildest protest from Magdalena. Her authority gradually increases, leaving her daughters with no choice but to obey. Her authoritarian stance is encapsulated in the sentence: “A disobedient daughter ceases to be a daughter and becomes an enemy.” Her authority extends beyond the moral to the physical.
The Desire for Freedom
Despite the oppressive atmosphere, Adela’s desire for freedom and love proves stronger than her fear of her mother. She challenges the mourning customs, wears a green dress, and expresses her longing for freedom, which Bernarda constantly opposes. At the play’s climax, Adela confronts her mother and breaks the cane, a symbol of authority. However, her freedom is short-lived, ending tragically with her death.
Maria Josefa, Bernarda’s mother, channels her rebellion through madness, the only escape for a person confined and mistreated.
Space and Symbolism
The play utilizes two distinct spaces:
- Visible Space: This is the interior of Bernarda’s house. Each act takes place in a different room, emphasizing the sense of monotony and confinement. The gradual shift from a bright white room to a dimly lit courtyard symbolizes increasing isolation, oppression, and the looming darkness of death. For Adela, the house is a prison, a hell, and a source of anguish.
- Invisible Space: This offstage space, alluded to throughout the play, symbolizes freedom and life. It’s the source of sounds, songs, and the world Adela desires – a space of love that tragically becomes a space of death. This space is represented by the river (eroticism and life), the olive trees, the window (a potential meeting place for love and contact with the outside world), and the yard (a place for forbidden encounters and the clash between love and social morality).
The interplay between these spaces highlights the tension between confinement and freedom, oppression and desire.
Time and its Significance
Lorca utilizes both explicit and implicit time in the play. The explicit time refers to the specific time of year (the stifling summer heat) and the exact time of day each act takes place (Act I – 12 noon; Act II – 3 pm; Act III – evening). The implicit time spans across three different days, showcasing the evolution of the characters and the dramatic action.
By carefully constructing both space and time, Lorca creates a powerful and symbolic backdrop for the tragic events that unfold in House of Bernarda Alba.