Federico García Lorca’s The House of Bernarda Alba: Act I Analysis
Federico García Lorca and The House of Bernarda Alba
Biographical and Historical Context
This excerpt belongs to the first act of The House of Bernarda Alba, the last dramatic work of Federico García Lorca. Born in Granada in 1898, Lorca was a poet and playwright who lived during a time of pre-war social unrest. His anti-fascist position cost him his life; he was shot in 1936. He joined the avant-garde currents of the moment, especially Surrealism.
Lorca’s Theatrical Innovations
With respect to the theatrical genre, Lorca puts forth a groundbreaking theater, in contrast to the prevailing costumbrismo. He seeks to innovate, both aesthetically and ideologically. This is not to please the public but to stir their conscience.
Three distinct periods can be identified in his theatrical career:
- The 1920s: Cultivation of a modern theater, incorporating popular elements. The Shoemaker’s Prodigious Wife belongs to this stage.
- The 1930s: An avant-garde experimental phase, influenced by new movements, notably Surrealism.
- The Final Stage: Development of a unique style characterized by aesthetic rigor and popular appeal.
Themes of Marginalization and Female Oppression
Lorca is interested in marginalized characters—gypsies, children—and, in this sense, women occupy a central place. His sensitivity to their situation in society at the time is evident, as shown in the passage in question, where a sexist comment is made.
Analysis of Act I
Setting and Time
The fragment under consideration belongs to the first act. Bernarda imposes mourning after the death of her second husband, José María Benavides. This is the trigger for the subsequent events: envy, confinement, and frustration. The play takes place in a confined space, Bernarda’s house with its courtyard, a suitable space for limiting situations. Bernarda and her daughters remain indoors, while men reach the street and neighbors.
As for the time, the first act takes place at twelve noon. In the previous text, there is no direct reference to the time, only that it is summer: “Give me the fan,” says Bernarda. Act II takes place at three in the afternoon, and Act III in the evening. These particulars are not recorded in the stage directions but are revealed through the characters. These three points do not belong to a single day; between each act, time has passed, although it is not explicitly shown.
Dramatic Progression
Lorca has selected three points on three different days. Through them, the evolution of the characters’ feelings and the dramatic action is shown.
Stage Directions and Characterization
On the other hand, the stage directions tell us about the staging (scenery, costumes), gestures, and movements of the characters, and about overcoming communicative intention. Here they are significant because they tell us about Bernarda’s overbearing attitude. For example, “throws the fan to the ground” and the rebellion of Adela.
As for the characters involved in the fragment:
- Bernarda is shown as authoritarian and cruel.
- Poncia is treated by Bernarda with some confidence.
- Amelia is more blurred; in the play, she shows deference to her mother.
- Martirio does not yet show her disagreement with Adela.
- Magdalena behaves as she is: indifferent and suspicious.
Language and Literary Devices
The language of the characters corresponds to their social status and their character. Bernarda makes use of a dominant language in the imperative and short interventions that reinforce her authority. Poncia boasts a popular, rural speech. Among the literary figures present are…