The House of Bernarda Alba bears the explicit subtitle “Drama about Women in the Towns of Spain,” and there are more frustrated women in it than in any other Lorca play, perhaps than in any other modern play in the world theater. The House of Bernarda Alba (1987) cast and crew credits, including actors, actresses, directors, writers and more. Angustias goes off to bed because Pepe is not coming to visit her tonight. Previously, Spain’s Golden Age in the sixteenth and seventeenth centuries was the highpoint of its creativity in the theatre and the other arts. Like Magdalena, she feels that being born a woman is life’s worst punishment. Lorca’s “blood consciousness” is a consciousness of what is, already; of what must be observed, acknowledged, assimilated, lived with, understood, and, finally, even forgiven. She then invokes a wish similar to that of Maria Josefa in Act 1: she wants to cross the ocean, ... Start your 48-hour free trial to unlock this The House of Bernarda Alba study guide. Ibsen, Henrik SOURCES Contains an annotated bibliography and other resources for the student researcher. La Poncia returns with the picture, which she found in Martirio’s bed. Singing is employed throughout the trilogy, although the other two plays employ more poetry than does The House of Bernarda Alba. (Interestingly, in her desperation at the end of the play, Angustias reverses herself and adopts her mother’s proud rhetoric, cursing Adela: “Disgrace of this house!”) Bernarda’s house is also referred to as a house of war, again reminiscent of the lineages of Greek tragedy. I have now seen Miss Paxinou on the stage in Hedda Gabler and on the screen in For Whom the Bell Tolls and Mourning Becomes Electra, and I must confess that her art continues to escape me. In The House of Bernarda Alba, we have what amounts to a nunnery and all that implies of the suppression of passion: nunneries are refuges from the usual passion of the world. Literary critics, meanwhile, have found much of interest in the complex themes of the play. The only action that occasionally can burst out in Bernarda Alba’s house is the poultrylike squabbling of the sisters, a parody of life. However, she has only herself to blame for her fear of what the neighbors think because she has manipulated them by gossip in the past. Pepe whistles from the yard for Adela, who runs toward the door, but Martirio blocks her way. Reality! The play itself, however, Shanley thought was “better dismissed as an experimental diversion of limited appeal.” While the play “abounds with sounds of grief and anguish” in a manner suggestive of the later works of Tennessee Williams, it “lacks the range and compassion of Mr. Williams’ better efforts.” Edwin Honig commented in his 1963 study of Lorca that “the personal dilemma . Following Adela’s suicide, do you think Bernarda will continue to maintain such tight control over her surviving daughters? Lewis, Allan. Prudencia tells Bernarda that her family is feuding, that her husband has never forgiven their daughter for an indiscretion. He is thematically equated with a wild stallion. Martirio, Bernarda’s second youngest daughter at 24, has been under the care of a doctor but does not express any hope of her condition improving. Martirio is the one daughter who reluctantly agrees that Pepe el Romano really loves Adela and not Angustias, to whom he is engaged. The House of Bernarda Alba continues to be revived and read all over the world. Bernarda! She is 60 years old. Lorca produced a body of work that is considered among the greatest in the Spanish language, and which has been enthusiastically embraced by audiences around the world. Bernarda Alba’s passion is exercised in the extinguishing of passion: the sadist can only have definition through the masochist, his diametrical opposite. “The Folklore Theatre—Garcia Lorca” in The Contemporary Theatre: The Significant Playwrights of Our Time, Crown (New York City), 1971, pp. With Lorca we enter an altogether different landscape in the modern drama, the landscape of passion. Although on the English-speaking stage there appears to be a certain artificiality in the theatrical style of Garcia Lorca, it is still evident that he is a playwright of authentic tragic force. 5. A senile old woman whom Bernarda keeps locked up in the back of the house. We’ll act as if we’d sealed up the doors and windows with bricks.” The heat in the house thus serves as a symbol for the sexual frustration of the daughters. La Poncia then expresses concern about the daughters, who are growing older and not finding husbands. (Martirio observes elsewhere in the play, “History repeats itself. The mourning women depart, and Bernarda curses what she sees as their hypocrisy: “Go back to your houses and criticize everything you’ve seen!” Bernarda explains to her daughters that they will mourn for eight years, during which “not a breath of air will get in this house from the street.” The grandmother calls again, and Bernarda orders a servant to let her out. Freedman elaborates on the theme of passion in Lorca’s dramatic work, examining the conflict between individual character’s emotions and the morals of the society portrayed. La Poncia persists in trying to make Bernarda recognize there are real problems brewing in the house. MARIA JOSEFA No, no, I won’t be quiet. . Martirio enters by another door and is confronted by her grandmother. Why are men never seen in the play The House of Bernarda Alba? Prudencia is 50 years old. It is also a play expressing the costs of repressing the freedom of others. As Dennis Klein noted, Lorca wanted his theater to “capture the drama of contemporary life and inspire passion as classical drama did,” Lorca stated that his purpose in writing his tragic trilogy was to follow the Aristotelian canon for tragedy. Drama for Students. Destiny is intermingled with the repetition of the life cycle; what occurred in the past is often fated to occur again. The story of Paca la Roseta, who spends a night with some local men deep in an olive grove, is to Bernarda a perfect example of the corruption which runs rampant outside her domestic space. Cobb, Carl. The mourning women begin entering until the room is full. The men of the town, meanwhile, are of course free to move about outside. Randy also has performed in a few main-stage productions here at Fox, including Ion, She Loves Me and The Servant of Two Masters. Bernarda orders Adela’s body cut down, insisting, “My daughter died a virgin.” The play ends with Bernarda stubbornly maintaining her illusion, ordering her daughters to be silent and defiant in the face of death. Explain. The setting is on the edge of action. As an adolescent Lorca wrote plays which were enjoyed by his family and their servants, but his father tried to influence him to study law and pursue what he considered to be a more responsible career. Weather in general is symbolic; the heat suggesting intense sexual frustration. This resource compiles selections of criticism; it is an excellent beginning point for a research paper about Lorca. “Federico Garcia Lorca” in Selected Essays of William Carlos Williams, Random House (New York City), 1954, pp. . The daughters exit; La Poncia and Bernarda continue their discussion about the “very grave thing” which Bernarda insists is not happening in her house. Bernarda explains to her daughters that they will mourn for eight years, during which "not a breath of air will get in this house from the street." Lorca is preeminently the playwright of passion in the modern theater although we can find elements of Lorca in Williams, Osborne, O’Neill, and Genet; but in each of these there is a significant admixture of other thematic material. The Alba household is made up entirely of women: Bernarda, her five daughters –Angustias, Magdalena, Amelia, Martirio, Adela–, Bernarda’s mother –María Josefa—and two servants, La Poncia and another called simply Criada (Maid). Bentley, Eric. The Alba household is made up entirely of women, nine in all. DIED: 1906, Oslo, Norway Martirio feels that God has made her weak and ugly and that all things considered, “it’s better never to look at a man.” She hypocritically says having a boyfriend does not matter to her, but she is consumed by jealousy and sexual frustration. Upon his return to Spain in 1930, his play The Shoemaker’s Prodigious Wife was produced successfully. . (Bernarda must have everything perfect, and works her servants hard to get it.) Wikipedia informs me that she is seen in a white bridal gown, but having read both the spanish and english versions cover to cover several times over, I am yet … “Lorca’s principal characters,” Gilmour commented, “are tormented souls who, despite their strict Catholic upbringing and proud sense of honour, are incapable of displaying the Christian virtues of love and forgiveness.” Of course, given the theme of Lorca’s last plays, many critics have studied his complex portrayal of gender roles in Andalusian society. Some critics were particularly indignant about the circumstances surrounding Lorca’s death. The color also suggests a whitewash of hypocrisy, which dominates the household, as well as the sterility and monotony of life for Bernarda’s daughters in the house. Bernarda’s daughters drink water not just to quench their thirst but to lessen their sexual frustration. “Poetry in the Drama of Lorca” in Drama Survey, February 3, 1963, pp. The House of Bernarda Alba moves closer to the structure of classical tragedy than the other two plays, but still differs significantly. There are many symbols of freedom in the section. Expressionism arose in Europe in the late nineteenth and early twentieth centuries as a response to bourgeois complacency and the increasing…, GEORGE BERNARD SHAW 1914 Photographs in Lorca’s day were of course in black and white, and the stark whiteness of the house’s walls is contrasted perfectly with the black mourning clothes of the women in the first act. The House of Bernarda Alba content, as well as access to more than 30,000 additional guides and more than 350,000 Homework Help questions answered by our experts. She is in many ways a younger picture of her mother, called “a poisoned well” by La Poncia. It must be added, however, that the production provided additional evidence that the theatre of Spain does not fit any too snugly into the American stage and presents barriers that it is not easy to cross. Her form of escape is a pleasant memory of the past. The play was published the same year, also in Argentina. Pedro Calderon de la Barca, Felix Lope de Vega, and others created a dramatic canon that has stood as a standard for centuries. The eldest daughter at age 39, Angustias is a half-sister to the others because she was born of Bernarda’s first marriage. Carrier, Warren. CRITICISM Maria Josefa is most explicitly a prisoner, for Bernarda keeps her locked in a room and relies on the assistance of family and servants to keep her there. “To Bernarda’s way of thinking,” wrote Dennis Klein in Blood Wedding, Yerma, and The House of Bernarda Alba, “virginity is decency and sex corruption.” Therefore, it is understandable that when Adela commits suicide, Bernarda’s first thought is to make the world believe her daughter died a virgin. A thud is heard a moment later, and when La Poncia breaks open the door, she discovers that Adela has hanged herself. “Singing Spain” in the Saturday Review, October 2, 1937, p. 18. Bernarda, I want a man to marry and be happy with!-----MARIA JOSEFA I want to leave this place! The daughters suffer in the heat of a house which is shut up tight for a period of mourning, during which, Bernarda explains, “not a breath of air will get in this house from the street. The House of Bernarda Alba finally premiered in Argentina nearly a decade after Lorca’s death. Lorca’s primary identification was always with female characters, and all the plays in his late trilogy are about the plight of Spanish women. Honig, Edwin. Afterwards, it may warm itself until it exhales symbols of every kind and color, speaks only through the most poetic forms; but first and last, it must still be at bottom a biblical statement of fact. Even though Angustias is our sister, we’re her family here and we know she’s old and sickly, and always has been the least attractive one of us!” The daughters are all in such a state of repressed isolation that they will resent both Angustias, for having a suitor, and the beautiful Adela, for possessing Pepe as a lover. He was one of the earliest casualties of the Spanish civil war, executed by fascist rebels, his body thrown into an unmarked grave. Magdalena is the only one who loved her father, La Poncia explains. Another critic, writing in the publication Blanco y Negro, traced patterns throughout the trilogy of plays about the lives of Spanish women. Like the other servants in Bernarda’s employ, her life consists of nothing more than cleaning the house until her fingers bleed, without ever earning Bernarda’s approval. Warren Carrier, for example, concludes that The House of Bernarda Alba “is so stark as prose, it is so essential in language and feeling, it stares so directly into the heart of the characters, that it may be said to be more poetic than many of the more patently poetic plays.” In The Contemporary Theatre: The Signigicant Playwrights of Our Time, Allan Lewis shows himself to be among critics who have focused on the elements of folklore both in The House of Bernarda Alba and other plays of Lorca. For example, all the women in Adelaida’s family suffered before her, and she is destined to suffer, too. Adela and Martirio are left alone, each accusing the other of trying to steal Pepe away from Angustias. Like Martirio, she claims not to care if she lives or dies. La Poncia plays a significant role as intermediary between Bernarda … She orders La Poncia to search the bedrooms. Magdalena "The House of Bernarda Alba" was written in 1936. La Poncia. Of all the characters, Amelia, Bernarda’s third youngest daughter at age 27, perhaps stands out the least as an individual. Franco’s regime never accepted responsibility for Lorca’s death, but Lorca remained a forbidden subject for years. Her second husband has just died. Reviewing a production by the Actors’ Workshop of San Francisco, Stanley Eichelbaum, as quoted by Dennis Klein, wrote that the play was “superbly atmospheric to the eye and gloriously affecting to the ear.”, The House of Bernarda Alba has continued to be produced and read extensively, both in Spanish and in translation. After speaking more about Adelaida's difficulties, Martirio concludes: "It's better never to look at a man." Magdalena is the only one who loved her father, La Poncia explains. Bernarda's mother, eighty years old. The act opens at night, in a room in Bernarda’s house adjacent to the corral. Magdalena curses womanhood if it consists of nothing more than being bound by tradition. “Lorca was assassinated, and his books burned,” wrote William Rose Benet in a 1937 review of Lorca’s Lament for the Death of a Bullfighter, “but his burning words live on in the present book, beyond the reach of the bloody ape [i.e., Franco].” Benet praised the “fierceness” in Lorca’s poetry, calling some of his images “striking and beautiful.” Eulogizing Lorca a year after “his criminal and stupid murder,” Rolfe Humphries praised Lorca’s versatility and his ability “to write both simply and subtly at the same time.” While dwelling on the lasting value of Lorca’s poems, Humphries also praised Lorca as a total artist, saying that “in achieving a synthesis of all that. Most have found it a work of real theatrical power, demonstrating Lorca’s versatility as a writer. A reviewer in La Nation identified Lorca’s work with that of Calderon de la Barca, who also focuses intensely on issues of honor. Who is Magdalena in The House of Bernarda Alba? A distant chorus is heard, the sound of men singing on their way to the wheat fields. In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. The three sisters discuss the talk of the town, that Pepe el Romano intends to ask their sister Angustias to marry him. She expresses bitterness about Bernarda’s treatment of her and the other servants. THEMES Adela resents this curiosity, and when she and La Poncia are left alone, she resists the maid’s insinuations that she has feelings for Pepe. La Poncia, who is 60 years old, is perhaps the most complex character in the play. . The servant hears the bells tolling and curses Bernarda’s dead husband: “You’ll never again lift my skirts behind the corral door!” The mourning women begin entering until the room is full. For an overview of Lorca’s life, see the entry on him in Volume 108 of the Dictionary of Literary Biography. The mood of ominous impending doom that hangs over the unhappy household of savage old Bernarda is captured in both the writing and the production with effective skill and presents the most successfull feature of the drama. With the repetition of Bernarda’s “Silence!” the command has an authoritarian ring at the beginning of the play, but a hollow one at the conclusion. . Encouraging Maria Josefa to return to bed, Martirio calls out for Adela. The House of Bernarda Alba drama of women in the villages of Spain The play was completed in 1936, ... Maria Josefa Bernarda's Mother. You'll get access to all of the ... Maria Josefa. Lorca experienced traditional rural life growing up in the southern region of Andalusia, but was propelled into the modern world when his parents moved to the city of Granada in 1909. In 1990, the play was adapted as a Spanish film, directed by Mario Camus (Gala). https://www.encyclopedia.com/arts/educational-magazines/house-bernarda-alba, "The House of Bernarda Alba Start your 48-hour free trial to unlock this The House of Bernarda Alba study guide. Some translations call this maid "Blanca"; others call her "Servant." As we hear the threat of the galloping stallion in Blood Wedding, threatening the orderly arrangement of events, so one hears the hoofbeats of the caged animal in Bernarda Alba, a tattoo of threatening disaster again. Adela enters, and hearing the news of Angustias’s suitor first grows depressed, then defiant and angry. Not only does Pepe become. Angustias Bernarda Alba’s oldest daughter from Bernarda’s first marriage. Lorca championed the plight of the Andalusian gypsies, who were accorded the worst possible social position in the region. Bernarda's name demonstrates their association with one another. Additionally, Lorca did make subtle use of the classical technique of the chorus that comments on the action of the play. “The Poet in Dublin” in In Search of Theatre, Knopf (New York City), 1953. PLOT SUMMARY she appears senile and long to leave the house to be married and bear children. Federico Garcia Lorca, the Spanish playwright who was murdered by his country’s Fascists in 1936, is a figure of international literary importance, and the American National Theatre and Academy was fulfilling one of its proper functions when it offered his most famous drama, The House of Bernarda Alba, as the fourth item in its subscription season at the ANTA Playhouse last night. No men appear on stage. prevents Lorca’s folk dramas as well as his other plays from rising so often out of pathos to real tragedy.” Other American critics have found much wider appeal in Lorca’s last play. In this, she appears more like a heroine of Greek tragedy, although she survives, perhaps to make the same mistakes again. (January 12, 2021). family deep within the house may prove impossible now that the neighbors have awakened. Near the conclusion of the play, Angustias stands her ground when a hysterical Adela orders her to tell Pepe that Adela will be his. Category: French drama. GENRE: Poetry, drama Then, copy and paste the text into your bibliography or works cited list. The uniform whiteness of the walls suggests a sense of purity which Bernarda would like to maintain. Since theater is an art form based on the physicality of performance, it is fitting that a great modern work of drama like The House of Bernarda Alba should make use of a setting that is both visually striking and serves so well to develop the images and themes contained in the play. Angustias knows that Pepe only wants her for her money, but is resigned to this fact. Known primarily for his works about peasants and gypsies, Lorca drew extensively on his familiarity with rural Spanish life. . He also designed sound for last year’s Enchanted April. Cleanliness, purity, silence, defining marks of death itself, envelope Bernarda Alba’s house. Federico Garcia Lorca, Ungar (New York City), 1984. The betrothal of Angustias has brought out bitter jealousy between them. ( Voices are heard and María Josefa, Bernarda’s mother, appears, very old and with hair and breast decked with flowers .) The plays of Lorca’s trilogy are all structured as dramatic crescendos with a key event around which the rest of the action revolves. Maria Josefa, Bernarda’s mother, is kept locked up and out of sight of the neighbors. Further argument rages over Pepe. At the time of Lorca’s death, Humphries and other critics have noted, Lorca’s work was not widely available in English. he had received from the world of dance and painting, music and theater, he abandoned nothing of value, and was able to work his erudition down into the substance of his art.” The American poet William Carlos Williams observed in the Kenyon Review that Lorca “belonged to the people and when they were attacked he was attacked by the same forces.” Williams praised the reality and immediacy of Lorca’s verse, his skill at “invoking the mind to start awake.”. Water is another important symbol for Lorca, suggesting sexual potency. The betrothal of Angustias has brought out bitter jealousy between them. . Bernarda feels she’s being protective: “For a hundred miles around there’s no one good enough to come near them.” Bernarda leaves, ordering her servants to work. Lorca was a great experimenter with poetic and dramatic form, and was certainly influenced by the variety of new artistic forms developed in his day. Already a member? She is hard on her own daughters out of a sense of what is proper behavior for women in a period of mourning. Magdalena goes to fetch Adela, and when they return, everyone questions the youngest daughter about what she did the night before. Bernarda seems unmoved by her daughter Adela’s death, more concerned about the perceptions of her neighbors as she orders her daughters to uphold the lie that “She, the youngest daughter of Bernarda Alba, died a virgin.”. She is concerned about Martirio’s health even if Martirio is not. Ultimately. Log in here. In 1936 civil war broke out as conservative army officers under General Francisco Franco revolted against the liberal Spanish government. In "La Casa de Bernarda Alba" ("The House of Bernarda Alba"), at which point is the senile grandmother Maria Josefa seen wearing a wedding dress? Maria Josefa, Bernarda's mother, calls from within, where apparently she has been locked-up against her will. The daughters wonder why, and Bernarda explains he is away on a trip; Martirio, however, looks suggestively at Adela and mutters, “Ah!”. Magdalena enters, deep in mourning. Adela hangs herself on learning, mistakenly, that her lover has been killed. The house is a self-contained society which Bernarda rules with an iron hand. Adela enters, and hearing the news of Angustias's suitor first grows depressed, then defiant and angry. In his study of the religious imagery in Lorca’s trilogy, John Gilmour in Religion in the Rural Tragedies refers to Bernarda’s house as “convent-like,” observing that Lorca uses the funeral in the first act to establish an important theme for the remainder of the play. SOURCES "The House of Bernarda Alba Bernarda (Banging on the floor with her stick) Don’t think it will give you any power over me! Lorca did not call his play Bernarda Alba, or even The Family of Bernarda Alba. The action opens in a "very white room in Bernarda Alba's house.'' CRITICISM She want to be free of Bernarda's home. It was produced in Buenos Aries in 1945, near the end of World War II, during which Argentina had maintained an uneasy neutrality. Honor may finally turn to antipassion, as in Bernarda Alba, certainly with its own power, but the primal force is personal passion. There is something about her highly mannered style that seems to me grotesque and extravagant, rather than powerful and moving, and this struck me as being all the more noticeable last night because that style happened to be contrasted with the less ornate playing of the other members of the cast. Adela runs off after her lover, believing he has been shot. María Josefa – Bernada's mother, whom Bernarda keeps locked up in her room. Even as Bernarda Alba is hysterically improvising her sterile stagecraft for the future, managing the appearance of Adela’s suicide (“Take her to another room and dress her as though she were a virgin”), arranging to face death daily, another daughter, Martirio, mutters: “A thousand times happy she, who had him.” The personal, physical passion continues to assert its independent power. La Poncia reports that one of the daughters, Magdalena, fainted during the funeral service. The servant hears the bells tolling and curses Bernarda's dead husband: "You'll never again lift my skirts behind the corral door!" Spends the majority of her life locked in her room by Bernarda. The Bridegroom represents order, cleanliness, and wealth. In 1929 Lorca traveled in the United States and Cuba, and from the experience of roaming the streets of foreign cities, he crafted the collection Poet in New York. Even his settings always seem nearly barren, simply all whites or all blacks, so that only the colors emerge that are evoked by the action and the characters. In the years of civil conflict which followed (in many ways a prelude to the war that was soon to rock all of Europe), the attention of the world was focused on Spain. The play later had important productions at the ANTA Theater, New York, in 1951 and the Crescent Theatre, Birmingham, England, in 1952. Yet the touch of the poet is present; there is poetry even if there is no verse. Bernarda Alba is sadistically compulsive about order, pathological about cleanliness. La Poncia comforts Angustias as Bernarda orders everyone but her maid out of the room. La Poncia is torn between debt to and hatred of Bernarda. La Poncia highlights the dominant sense of confinement in the house when she comments to Bernarda: “Your daughters act and are as though stuck in a cupboard.” If larger than a cupboard, the house does function extremely well as a prison. Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. (Although by Spanish custom his surname is properly Garcia Lorca, he is more commonly known by his mother’s surname.) Overview. Examines Lorca’s artistry by emphasizing a synthesis of approach to his poetry, drama, music, visual art, and stage direction. Bernarda Alba is an extreme distillation of social honor; she exemplifies a passion that has gone too far in excluding the mortally impulsive, irrational, emotional, self-indulgent. La Poncia contributes stories about her courtship, and the mood grows lighter. But even servitude to a husband would likely provide Bernarda’s daughters with more freedom than they have under her tyrannical authority. Brand (1866) But to celebrate passion is to celebrate life, living, feeling, reaching, erring: vitality, vivacity, whimsicality, impulsiveness, energy of every sort. Lorca went on a short lecture tour of Argentina and Uruguay, and was greeted as a celebrity everywhere he went, even by other major writers like Chilean poet Pablo Neruda. Lorca is true to the spirit of classical tragedy without rigorously applying the rules, such as the unities of time, place, and action. These critics suggest that the strength of Lorca’s plays, meanwhile, is limited to their language. In such circumstances, wealth controls fate. Amelia seems to be afraid of almost everything; unlike Adela who seeks the truth, Amelia would rather close her eyes to it. La Poncia speaks her mind, warning her employer, “Something very grave is happening here.” La Poncia insists that Bernarda has never given her daughters enough freedom. “If he were coming because of Angustias’ looks, for Angustias as a woman, I’d be glad too,” Magdalena comments, “but he’s coming for her money. from a line of murderers. Lorca was living in Madrid at the time and decided to wait out the conflict at his parents’ home in Granada. She appears to have learned nothing from the experience of losing her youngest daughter, for she exerts the same repressive control against which Adela rebelled with such tragic results. Examine the ways in which La Poncia serves as a mediator for the various conflicts in Bernarda’s house. The first act is set in a room near the entrance hall, appropriate for the public nature of the funeral and the visitation of neighbors, which Bernarda must endure. La Poncia and some of the daughters go to watch the men from a window, leaving Amelia and Martirio alone. Lorca wrote The House of Bernarda. STYLE The green dress of Adela is the only other color which appears in the play, contrasting the white walls of the house not only in hue but also in theme, for the color is symbolically associated with nature, hope, jealousy, sex. They are cooler on the patio and in the fields, suggesting symbolically that they do not suffer from sexual repression. However, the date of retrieval is often important.

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