The House of Bernarda Alba: A Character Analysis and Theme Exploration
The House of Bernarda Alba: An In-Depth Analysis
Internal Structure
The play opens with a constant flow of people entering and exiting, highlighting the underlying conflicts. The death of Bernarda’s husband and the subsequent mourning period, which Bernarda’s daughters find difficult to accept, set the stage for the central conflicts.
The primary conflicts, particularly the tense relationship between Bernarda and Poncia, escalate throughout the first act. The second act introduces Pepe el Romano and reveals Angustias’s love for him. Tensions rise among the sisters, especially between Adela and Martirio, both of whom harbor feelings for Pepe. Martirio, despite her own love for Pepe, advises Adela to obey their mother.
The third act culminates in the tragic climax of the play: Adela’s death.
Themes
The dominant theme is the social constraints of the time. Other prominent themes include Adela’s rebellion against Bernarda’s tyranny, the oppressive nature of grief, the fear of social judgment, envy and jealousy among the sisters, sexual desire, infidelity, and hypocrisy.
Setting (Space and Time)
Scene changes are not explicitly marked but are implied through the entrance and exit of characters. The action unfolds within the confined space of Bernarda Alba’s house, possibly symbolizing the restrictive mourning period imposed after her husband’s death.
The play is set around 1936, as indicated towards the end, aligning with the period of Lorca’s own life. The timeframe is relatively short, encompassing a limited period within the house. The play’s structure is divided into three acts, as outlined in the Internal Structure section.
Synopsis
Following the death of the family patriarch, Bernarda, the matriarch, and her five daughters are left to navigate their lives within the confines of their home. Angustias, Bernarda’s eldest daughter from her first marriage, inherits a greater share of wealth, creating a power imbalance among the sisters. The other daughters—Magdalena, Amelia, Martirio, and Adela—are from Bernarda’s second marriage. Bernarda, a stern and controlling figure, imposes an eight-year mourning period, which Adela, with her rebellious spirit, finds particularly stifling.
Pepe el Romano’s arrival disrupts the household’s fragile equilibrium. He becomes engaged to Angustias, but rumors suggest his motives are purely financial and that his true affections lie with Adela. Martirio, also in love with Pepe, witnesses a secret encounter between him and Adela in the barn.
Bernarda, alerted to the rendezvous, confronts Pepe in the barn and fires a shot, believing she has killed him. Adela, devastated by the presumed death of her lover, hangs herself. Bernarda, determined to maintain appearances, forbids any outward display of grief and seeks to conceal the truth from the outside world.
Character Descriptions
Bernarda
Bernarda, a 60-year-old widow with a strong and authoritarian personality, has five daughters from two marriages. She is domineering, superficial, tyrannical, cruel, and emotionally distant. Obsessed with maintaining social appearances, she even confines her own mother to prevent her from interacting with the neighbors. Bernarda embodies the abuse of power.
Adela
Adela, a vibrant and attractive 20-year-old, is characterized by her defiance and rebellious spirit. She is independent, cheerful, and passionate, representing the yearning for freedom. Adela embodies insubordination against her mother’s rigid rules.
Angustias
Angustias, 39 years old, is Bernarda’s eldest daughter and Pepe’s fiancée. She symbolizes both fortune and misfortune, being the heir but also trapped in an undesirable marriage.
Magdalena
Magdalena, 30 years old, represents resignation and embodies the acceptance of her restricted life.
Amelia
Amelia, 27 years old, is portrayed as amicable and non-confrontational.
Martirio
Martirio, 24 years old, embodies envy and resentment, fueled by her unrequited love for Pepe.
Maria Josefa
Maria Josefa, Bernarda’s 80-year-old mother, is confined by Bernarda to avoid social embarrassment. She represents a poetic voice and provides moments of comic relief, offering a counterpoint to the prevailing tension.
Poncia
Poncia, Bernarda’s 60-year-old maid and a widow, serves as a foil to Bernarda. Their relationship is marked by conflict, and Poncia often employs irony in her interactions with Bernarda.
Pepe el Romano
Pepe el Romano, though never physically present on stage, is a pivotal character whose presence drives the central conflicts. He represents the object of desire, envy, jealousy, and sexual longing, acting as a catalyst for the play’s tragic events.
External Structure
The play adheres to a traditional three-act structure common in Spanish theater:
- Act I: Exposition. Introduces the setting, characters, and the central conflicts that will unfold.
- Act II: Rising Action. Develops the tense atmosphere, highlighting the envy and jealousy within Bernarda’s household.
- Act III: Climax and Resolution. Brings the conflicts to a head, culminating in the tragic resolution of the play.