The House Of Bernarda Alba Analysis

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How would an actor playing the part of Bernarda Alba in Lorca’s The House of Bernarda Alba use Duende, knowledge and understanding of Franco’s Spain when preparing to play this role?

The House of Bernarda Alba is a play by the Spanish dramatist Federico Garcia Lorca. It has always been related to a group of other plays such as Yerma and Blood Wedding, labelling them as a ‘rural trilogy’. However Lorca did not plan to include it in his trilogy of the Spanish earth, which he did not finish when he was murdered.
Lorca described his play as a drama of women in the villages of Spain. The House of Bernarda Alba was Lorca’s last play, which was completed on 19 June 1936, two months before he was murdered, during the Spanish Civil War. The play was first performed in 1945. The play is focused on the events happening during a period of mourning in a house in Andalusia. Bernarda Alba (aged sixty) wields total control over her five daughters.
The House of Bernarda Alba is a played exclusively of women, in
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It is a very realistic point the fact that Lorca forboded what the future of Spain was with this play because in The House of Bernarda Alba, Bernarda is the tyrant, Primo de Rivera and Franco in this case and Adela could symbolize the people, the opressed and censored society, the lack of freedom and how they turn against the tyrants. In Act 3 of the play Adela confronts Bernarda because of her love towards Pepe ‘El Romano’. Martirio, Adela’s sister acuses her of have been seeing Pepe. Bernarda labels her as a ‘whore’ and with rage, Adela seizes her mother’s walking stick and breaks it in half saying: “this is what I do with a tyrants rod”. This symbolizes the rebelion, the catalyst of the Spanish Civil War, how the people turn their backs to the

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