Cuando leyendo la casa de bernarda alba, вќ de federico garcia lorca, un lector estгѓвў bombardeando con imagines, sгѓвmbolos e ideas signгѓвficas. Hay tantos oportunidades para un lector a ver estes sгѓвmbolos por los papeles, por los objectos y por los temas. Una de los temas mгѓвўs importante y mгѓвўs dominante y extendido es lo de la controla y la opresiгѓвіn. Las personajes principales que muestran la controla y la opresiгѓвіn son las de adela y su madre, bernarda. No podrгѓвa tener los temas de opresiгѓвіn y controla que son tan fuertes por todas partes del drama. No solamente las personajes y sus papeles demuestran el tema, pero los objectos que estгѓвўn relacionados con los personajes principales, como el bastгѓвіn de bernarda, el color de la casa, la puerta de la casa, y muchas mгѓвўs cosas.

Primero, bernarda, la madre y el dictador de la casa, controla toda su familia en la casa porque ella estгѓвў lamentando el muerte de su esposo, y no puede controla su tristeza. Entonces, ella sienta como tiene que tener controla sobre las vidas de sus hijas, para tener controla sobre algo de su vida. Ademгѓвўs, bernarda lleva un bastгѓвіn, que representa la controla que tiene, como una reina, o mгѓвўs como un dictador. Su controla y sus acciones no son las de una madre carinosa quien estгѓвў lamentando su esposo. El bastгѓвіn representa la masculinidad de bernarda porque un bastгѓвіn tiene las connotaciones que alude a moses en la biblia, o al papa de la iglesia catгѓвіlica, y los dos son lideres que son hombres.

La diferencia entre bernarda y moses y el papa es que ella gobierna su familia en una manera muy estricta, y no hay amor ni carino. Los hombres religiosos, sin embargo, gobierna su gente con el amor de dios, y con carino. the house of bernarda alba was written in 1936 during a flurry of creative activity for lorca. He liked to say that his plays took years to form in his mind, and then a matter of weeks to write.

Though this claim is not represented in the process of all his plays, it certainly rings true here. The first inspiration for the house of bernarda alba was a woman who lived in one of the villages where lorca grew up. This woman, whose name was frasquita alba, had five unmarried daughters whom lorca would see walking sadly through the village. But as with all of lorca 39 s real life inspirations, his goal was less to reproduce the inspiration than to use it as an archetype and symbol, putting it to use to explore his prevailing themes of repression, sexuality, and tyranny. Lorca had been writing about women for a long time, both because that subject matter allowed him to explore the above themes and because the theater scene in spain had more female actors than male actors. He swore that this play – which has no men on stage at all – was going to eschew his poetic and symbolist aesthetic in exchange for not one drop of poetry! reality! pure realism! he sub titled the play, drama of women in the villages of spain, and notes that the work should resemble a photographic document.

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Yet despite his claims, lorca 39 s natural poetic sense and command of musical rhythm still create a highly stylized play suffused with symbols. However, unlike his earlier plays, this play is heavily indebted to the use of silence and shows a notable lack of the lyrical language for which he had been known. Lorca never got to see his play produced, as he was assassinated by the conservative nationals in the spanish civil war before it could even be accepted by a company. The play 39 s depiction of tyranny evokes the tyranny of franco 39 s party that led to lorca 39 s own death.

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And yet what makes the play so timeless is its near perfection, the way almost every line works in the service of its themes and how the atmosphere grows more and more claustrophobic, so that an audience leaves not with mere ideas of repression but with a sense of the experience of it. next section the house of bernarda alba summary buy study guide

how to cite cedars, s.r. Cite this page discuss the author's setting up the exposition and background of the characters in the first act of the play.

What is significant about using the servants to convey information about the play's characters? what reason does the author have for giving so much information about the characters so quickly? lorca 39 s play confines itself to only female characters. It explores their suffering under a world that allows men to follow their whims and expect forgiveness, while women are held to impossible standards. The play implicitly condemns attitudes that preclude female sexuality and force women to subscribe to unrealistic moral codes. Through bernada, it provides its most damning commentary so harsh are the expectations placed on women that a powerful matriarch herself reinforces those skewed values and acts like a man, as though the only way to have power is to ignore and betray her own femininity. And yet to call lorca 39 s play feminist is perhaps to subscribe too political a vision to it. His interest is in universal humanist themes sex, death, repression and to understand it only as a tract for women 39 s rights would be to risk missing its more poetic exploration of larger themes.

Regardless of how one answers the question, a feminist lens does provide some insight into the play. In a tragedy, the tragic force is that immutable force that a character attempts to battle, causing suffering and eventual defeat. Adela is, like all her sisters, at the mercy of her sexual passions, consumed by them. However, where her sisters internalize their lust and it turns to bitterness, adela forces it outwards and risks the shame and potential harm of a public affair with pepe. One could argue that by trying to master her sexuality, adela is defeated, as though her sexuality were too strong. One could also argue that the shackles placed on women provides the tragic force.

The real antagonist to adela is her mother, who represents the forces of repression that lorca would have understood from living in a newly fascist spain. What adela wants more than pepe or to fulfill her sexuality is to be free of shackles, of moral strictures, and of expectations. It is this repression more than anything that she combats, and which ultimately forces her to her tragic end. Though pepe is, like the other men of the village, never seen onstage, his presence looms as a major character. By bringing the possibility of marriage to the alba household, he is offering not only sexual freedom in a respectable venue, but also freedom from the tyranny of bernarda. What he offers is so strong that it engulfs all the girls, to the point that he as a person almost does not matter. They do, however, continue to note his handsomeness, and indeed, his name, which translates to the roman, clues us into the way he is viewed as a hero.

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The women never acknowledge pepe 39 s abhorrent behavior in courting both angusitas and adela. He represents the male license to misbehave and to treat women as objects, that is granted by women themselves. Pepe has been charged with too much power for him to ever live up to it, but so heavy are the chains of repression that he never would have to if he were to bring to any of the sisters the freedom they so desperately desire. Lorca, as both a playwright and poet, attempts to write a play that is less the telling of a story than the exploration of a theme. He wants to create characters that are both believable in their specificity and evocative in their symbolic weight.

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As such, all his characters have unsubtle symbolic qualities while still possessing individual, esoteric traits. Names are used to indicate the type of people the daughters are bernarda unflinchingly personifies repression while being unlike any other character in theater. Lorca accomplishes this balance through his precise use of language, through the rhythmic use of silence, and through the haunting atmospheric effect of his theatricality. His precise descriptions of the color of rooms, the use of strange devices like maria josefa 39 s song , and the heightened moments all create an atmosphere of claustrophobia and visceral unease. In the end, the story of this play is extremely simple what matters is the experience of feeling locked in the world of the daughters. Bernarda 39 s old mother, locked away because of her seeming senility, plays the role of a prophet.

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What she represents is freedom, a freedom that finds its outlet in imagined sexuality. There is surely something sad about the fact that to find freedom, she has to retreat into her own fantasies, and yet the old woman is able to find peace in her fantasies of living with a new husband by the sea, finding sexual satisfaction in a pastoral landscape away from civilization. In her second scene, when she sings, lorca indicates a certain innocence in her character through her use of a lamb as a baby. The warnings she brings when she enters are the costs of repression and the importance of freedom and fantasy. Through her senile yet atmospherically haunting scenes, lorca paints maria josefa as the only true individual other than adela, though the former 39 s freedom comes from being close enough to death to be willing to toss off the shackles of conformity and expectation. Lorca describes his play as a photographic document and sets up his color scheme to evoke the image of a black and white photo.