Federico García Lorca’s The House of Bernarda Alba: A Deep Dive
Federico García Lorca’s *The House of Bernarda Alba*
A Masterpiece of the Generation of ’27
Federico García Lorca, a renowned poet, playwright, and prose writer, belonged to the influential Spanish Generation of ’27. *The House of Bernarda Alba*, a play in three acts, is one of his most acclaimed works. Written in 1936, shortly before his execution, it premiered in Buenos Aires, Argentina, in 1945.
Characters: Stereotypes and Complex Individuals
Lorca masterfully blends stereotypes with complex characters. While they represent certain figures, they also possess rich histories and deep feelings. Notably, the play features only women, making it a powerful drama about their lives and struggles.
Key Characters:
- Bernarda (60): The tyrannical matriarch, embodying all that is negative. Her authoritarian nature is evident in her language and her ever-present cane, a symbol of her power.
- Angustias: The eldest daughter, who agrees to marry Pepe el Romano for his wealth. Despite knowing his true intentions, she is indifferent, driven solely by her desire to escape her mother’s oppressive rule. Even at nearly 40, she lacks passion and joy.
- Magdalena (30) and Amelia (27): These two sisters are the most submissive, having resigned themselves to their mother’s authority.
- Martirio (24): Perhaps the most complex character, harboring deep resentment and jealousy towards her younger sister.
- Adela: The youngest and most rebellious daughter. She challenges the established moral order, but her inability to overcome it leads to a tragic fate.
- Poncia: The maid, whose popular and varied speech adds depth to the narrative.
- Maria Josefa: Bernarda’s mother, confined due to her perceived madness, representing a stark image of societal judgment.
- Pepe el Romano: Though he never appears on stage, Pepe is omnipresent, acting as a catalyst for the passions and conflicts within the house.
Central Themes
- Desire for freedom
- Oppression of women
- Tragic destiny
- Conservative morality
- Importance of appearances
- Authoritarianism
- Sensuality
- Envy and hate
- Injustice towards women in a patriarchal society
- Social hypocrisy
Dramatic Techniques and Symbolism
Lorca masterfully employs various dramatic techniques:
- Dramatic Progression: The main conflict unfolds seamlessly, with each incident intricately linked to the preceding and succeeding ones, creating a compelling chain of action.
- Richness of Manners: The play immerses the audience in the characters’ lives, allowing them to witness the unfolding events firsthand.
- Symbolism:
- Water: Thirst represents sexual desire.
- White and Black: White generally symbolizes positivity, while black is associated with death.
- Green: Represents rebellion.
- The Stallion: A potent symbol of sexuality, introducing another dramatic element.
- The Cane: Represents Bernarda’s tyrannical power.
- Stage Directions: Detailed descriptions of scenery, costumes, actions, and characters’ intentions enhance the play’s impact.
- Exclamatory Tones: Used to dramatize the dialogue.
- Irony and Innuendo: Add layers of meaning to the narrative.
Lorca’s Theatrical Style
Lorca’s theatrical style is characterized by:
- Episodic Structure: He presents the plot through a series of *prints* or consecutive scenes that showcase the characters’ development.
- Integration of Poetry: Lorca interrupts the plot’s flow to introduce poetic elements and short poems.
- Popular Character: His work is rooted in the rural atmosphere that permeates most of his plays.
- Influence of Classical Spanish Theater: Lorca draws inspiration from classical Spanish theater, incorporating music, performance, dance, and art into his works. Tirso de Molina, Calderón de la Barca, and Lope de Vega were significant influences.
Other Notable Works by Lorca
Blood Wedding, Yerma
Characteristics of the Generation of ’27
- All members were born within a span of less than 15 years.
- They shared a similar intellectual background, with most being academics and some becoming teachers.
- Almost all of them were associated with the Residencia de Estudiantes.