THE CHARACTERS IN THE House of Bernarda Alba
We must distinguish in the play between characters visible (on the scene) Starring: Bernard, her daughters, Maria Josefa and Poncia, or secondary Maid, Beggar, Prudence, Girl, Women (1 st, 2 nd, 3 rd and 4 th) invisible characters (noaparecen before our eyes but affect the development of the action) Pepe el Romano, Lahij of books and reapers and characters referred to (they are characters I mentioned some peculiarity, or a story we are told): Antonio Maria Benavides, Enrique Humanes, Paca la Rosette, Woman of the sequins, Don Arturo (the notary), the man with the lace.
Bernarda is the repressive force, subject to old and outdated approaches. Criticism yet it is represented with a cane on stage and male attitudes. Opposed to the erotic impulses of his daughters, the "honor" and "decency," the obsession with virginity and save the forms before the people, seeking at all times to impose their point of view. Cree belong to a higher social class and do not let their daughters marry men from the village and want to ban everything that exceeded its design life, based on the principle of authority and exercise of power, although this is unfair.
Anguish is the oldest child marriage and heir to a fortune that attracts the eyes of men, including the Pepe el Romano. Appears in the work as unfortunate from an aesthetic point of view and without passion or enthusiasm for the marriage, but this is the only way to escape from prison.
Magdalena, 30 years, just to make a submission and acceptance of the situation at one time or another for cursing in the paper that the woman was convicted at the time. Nor Amelia, 27 years, shy, stage plays important role, resigned, with little play in the scene, like Magdalena, 24 years old, ugly, sick, humpback, self-conscious and aggressive, who plays a tough nut to crack , a quick temper.
Adela, age 20, is the scene that embodies the role of rebellion. She is the youngest, the prettiest, the "mule uncut," the willingness to pursue his passion of love to Pepe el Romano, who comes off stage, which ends with suicide once thought Pepe Romano is dead. She, the rebel, is what gets the green suit to oppose black has imposed stringent than the mother, she, the transgressor is willing to defy the laws imposed by the mother, who breaks the baton of Bernard . Maria Josefa, the grandmother of five. Appears throughout as an eccentric old fool and occasionally appears on stage, but is she who, with sympathy and humor, reveals the problems that afflict their grandchildren, such as the imprisonment to which they are subjected the frustration of women, the desire for marriage, desire to be a mother, the desire for freedom. His madness is what gives him the strength to proclaim their desire for freedom, his eagerness to confront and expose their tyranny Bernarda.
Poncia, in their parliaments to Bernarda, the past of the house and half in the conflicts that are happening in the work. Full of wisdom, popular taste, gives stitches are not accepted by the owner, a deaf Bernarda any advice, any requirement. The maid, and some neighbors do not reach significance in this "drama of women in Spain" (subtitle of the work).
MAIN ISSUES AND SECONDARY IN THE "LCBA"
- FOCUS: it raises the clash between the authoritarianism of Bernarda, which attempts to impose its oppressive norms based on their position of "head of household" and the yearning for freedom, embodied above all by Maria Josefa (mother of Bernarda) and Adela who try to rebel.
c) The hatred and envy.
Human relationships are dominated by hatred and envy: a hate Bernarda maids and neighbors, is a hated character; Sorrows is hated and envied by her sisters, Adela accuses Martyrdom of jealousy, envy and hatred.
Women live locked in a hostile and savage: the desire to love and be free and unable to reach them, drive to the daughters of Bernarda to alimentarfuertes feelings of hatred and envy.
Other sub-themes to bring out the scourge of rural Spain at the time. Complaint Lorca Spanish society.
d) The moral or traditional mentality, against a book that defends moral values such as tolerance, joy, sincerity, love, mercy and charity.
e) Social injustice .-
Lorca reveals the tensions of the society of his time, shows the injustice and social differences, class consciousness and pride, and cruelty which governs human relationships. Human relationships are hierarchical and stained with cruelty and meanness occupy the lower strata. Bernarda is greedy and vile, incapable of any generous impulse. Each character tends to humiliate that sits in the bottom tier of the social pyramid.
f) The marginalization of women .-
The woman, reduced to certain roles are not always liberating and rewarding in society, has fewer resources than men to fight for their own happiness. If it comes out of these functions (bride-mother-wife), is underlined by the society as a failure and as useless and worthless.
Lorca crudely reflects the marginalization of women in the society of his time, faces two extreme models of female behavior: one based on moral laxity (Paca la Rosette, the prostitute hired by lossegadores and the daughter of a pound), and based on a certain idea of decency. The first group of women lead a life of apparent freedom.
Behavior based on decency apparently involves a submission to social norms that discriminate against women wild man's benefit, Can I do as he pleases.
The work of men and women is clearly differentiated: the first in the field, the second, at home, cloistered. Men and women are not equal before the law.
In the field of love, the woman has to suppress her evidence also impulsos.Se family submission of women to men.
The family honor, as in the works of the seventeenth century, relates to the behavior of women.
Moral clash between the authoritarian and the desire for freedom.
The central theme of the play is the conflict between authoritarianism (as provided), all represented by Bernarda, and the desire for authenticity embodied by Adela and Maria Josefa. You appear secondary issues, such as the search of the man, the faledad, envy (jealousy sentemiento), social differences, the concept of honor, violence, death ...
The confrontation between authoritarianism and freedom starts from the beginning, Bernarda is imposing on their daughters in mourning for 8 years with his absoluta.Todas will they have the obligation to submit to the discipline irrational mother. There are times when the authoritarianism of Bernarda leads to physical violence (end of first act, all the old trail, Act 2: Moving and hitting it, Act 2: end it ...; Final Act 3: When the gun fucks to kill Pepe el Romano.
Adela: Meeting the absolute power of Bernarda, we found that stronger than that fear is the desire for freedom Adela love, and so subtly and sometimes arbitrary in others, find words and details that characterize them. Until Adela and Bernarda personalities collide (when Adela fan, Adela ,..). green dress with her sisters and her mother's Poncia, proclaims its desire for freedom opposed to its madre.Acto1 rijidez: I think this mourning cojido me the worst time of my life to pass ... (adela cries). It finally of the work and before dying Adela confronts his mother and broke the stick of his mother. The free time is fleeting Adela because it will end his own death, to challenge the power of the mother. In the case of Maria Josefa his rebellion is channeled THROUGH madness appears as the only escape for a person locked up and abused. Responses and the rejection of oppression gives results useless, as are madness or death. In the work on authoritarianism triumphed as seen in the last words of Bernarda.
STRUCTURE: The House of Bernarda Alba meets the classical tripartite division of a play. That is extremely is divided into 3 pieces that, internally, reflect the classic pattern of presentation, middle and end.
Interestingly, the author divided the acts into scenes, and all followed it. The work responds to the law of the 3 units, ie, unity of place (house) of action but not respecting the time unit. Also this work presents a repetitive structure, ie, internally each act repeats the same process which follows three stages: Quiet, conflict and violence.Somehow, each piece is repeated in the internal structure of presentation, middle and end. This repetitive structure is reinforced by a number of recurring elements that unite the work. The Act 1 and Act 3 º begin the same way: `` a''shady silence that is interrupted in one case, for the bells and the other by the clatter of dishes, silverware, etc.
The 3 acts begin with scenes of everyday life, on the other hand, lo9 throughout the play, and also recurring themes in the course of it (especially from Act 2 º) are certain omens Deol tragic outcome. The play is run on these facts: it begins with a death and ends with another begins with the tolling of the bells and ends with the two cries, Bernarda ends and begins with the word Silence.