La casa de Bernarda Alba (The House of Bernarda Alba) (AQA A-Level Spanish): Revision Notes
La casa de Bernarda Alba (The House of Bernarda Alba)
Introduction to the play
La casa de Bernarda Alba (The House of Bernarda Alba) is a powerful three-act drama written by the renowned Spanish poet and playwright Federico García Lorca in 1936. The play is often described as a "drama de mujeres en el sur de España" (women's drama in southern Spain), focusing on the oppressive life of a mother and her five daughters in rural Andalusia.
The play explores the life of Bernarda Alba's family, where a tyrannical mother exercises absolute control over her five daughters. The story unfolds in an atmosphere of intense sexual repression, where the daughters desperately wish to escape from the confines of their home and the strict traditions that bind them.
Historical context and setting
Understanding the historical context is essential for appreciating this dramatic work. The play is set in rural Andalusia during the early 20th century, reflecting the rigid social structures of the Andalusian rural bourgeoisie of that era. The setting is not merely a backdrop but a fundamental element that shapes the entire plot and the characters' actions.
Bernarda Alba strictly follows the traditions of her social class, where family honour (el honor) and property (la propiedad) are considered more important than individual happiness or even life itself. The era dictates that what people say and think matters more than personal desires, creating a suffocating environment for the female characters.
Plot summary
The play opens at the beginning of Act One, just as Bernarda has finished burying her second husband. In this moment, she makes a dramatic decision that sets the tragic events in motion: she imposes eight years of mourning on her household and strictly forbids her five daughters from leaving the house.
Bernarda's first word in the play is "¡Silencio!" (Silence!). This powerful command establishes the tone for the entire work, emphasizing that family honour and social reputation are valued above all else, even more than death itself.
The tyrannical mother condemns four of her daughters to remain imprisoned in the house with no possibility of marriage. The only exception is Angustias, the eldest daughter from Bernarda's first marriage. As the heir to the family fortune, Angustias is engaged to Pepe el Romano, a young man from the village.
However, the daughters harbour an uncontrollable desire to have romantic relationships with the young men of the village. La Poncia, the family's long-serving maid, describes the daughters bluntly as "mujeres sin hombre, nada más" (women without a man, nothing more). She informs Bernarda that Adela, the youngest and most rebellious daughter, has fallen deeply in love with Pepe el Romano and the two have been meeting secretly at one of the house windows.
The situation becomes more complicated when it is revealed that Martirio, another sister, also desires Pepe. Consumed by jealousy, Martirio threatens to expose the secret relationship between Adela and Pepe. This leads to a bitter dispute between the two sisters.
When Bernarda overhears the confrontation, a violent scene unfolds. After a heated argument with her youngest daughter, Bernarda grabs her shotgun and fires at Pepe el Romano, who is outside the house. However, she fails to hit him.
Adela, believing that her lover has been killed, makes a tragic decision. Choosing the freedom of death over continued submission to her mother's tyranny, she hangs herself. At the conclusion of the play, Bernarda declares "¡Silencio!" once again, attempting to maintain control and family honour even in the face of tragedy.
Main characters and relationships
Bernarda Alba
Bernarda is the authoritarian matriarch who exercises absolute dominion over her household. She represents the oppressive traditions of rural Andalusian society, prioritizing honour and social reputation above her daughters' happiness. Her character embodies tyranny, control, and the rigid enforcement of societal norms.
The five daughters
- Angustias: The eldest daughter from Bernarda's first marriage and heir to the family fortune. She is engaged to Pepe el Romano, though this is primarily a marriage of convenience based on her inheritance.
- Adela: The youngest daughter and the most rebellious. She falls passionately in love with Pepe el Romano and secretly carries on a relationship with him. She ultimately chooses death over continued oppression.
- Martirio: Jealous and bitter, Martirio also desires Pepe el Romano and threatens to reveal Adela's secret relationship with him.
- Magdalena and Amelia: The other two daughters who suffer under Bernarda's rule.
Pepe el Romano
Though he never appears on stage, Pepe el Romano is a central figure in the plot. He is officially engaged to Angustias but conducts a secret affair with Adela, creating tension and conflict among the sisters.
La Poncia and La Criada
The household servants who witness and comment on the family's dynamics. La Poncia, in particular, serves as a voice that reveals truths about the daughters' situation and desires.
Key themes
Sexual repression and freedom
The daughters live in an atmosphere of intense sexual repression, forbidden from having any contact with men or the outside world. Their desire for freedom and romantic relationships conflicts directly with Bernarda's strict control, creating unbearable tension.
Family honour and social reputation
For Bernarda, maintaining the family's honour and good name in society is paramount. This obsession with "what people will say" (el qué dirán) drives her tyrannical behaviour and ultimately leads to tragedy.
Tradition versus individual freedom
The play presents a stark conflict between traditional social values and individual desires. Bernarda represents oppressive tradition, whilst Adela's rebellion symbolizes the struggle for personal freedom.
Set in a patriarchal society, the play explores how women are controlled and confined by social expectations and family authority, with limited opportunities for self-determination.
Vocabulary: key terms from the play
| Spanish | English |
|---|---|
| la obra dramática | the dramatic work/play |
| el dramaturgo | the playwright |
| el acto | the act (of a play) |
| la época | the era/period |
| el marco | the setting/framework |
| el argumento | the plot |
| la burguesía | the bourgeoisie |
| tiranizar | to tyrannize |
| la represión sexual | sexual repression |
| el luto | mourning |
| prohibir | to forbid |
| el honor | honour |
| la propiedad | property |
| la heredera | the heiress |
Example sentences with context
Ejemplos con contexto:
- Bernarda tiraniza a sus cinco hijas con reglas estrictas. (Bernarda tyrannizes her five daughters with strict rules.)
- La obra dramática fue escrita en 1936 por García Lorca. (The dramatic work was written in 1936 by García Lorca.)
- Bernarda impone ocho años de luto después de la muerte de su marido. (Bernarda imposes eight years of mourning after her husband's death.)
- El honor de la familia es más importante que la felicidad individual. (Family honour is more important than individual happiness.)
- Las hijas sufren una represión sexual insoportable. (The daughters suffer unbearable sexual repression.)
Vocabulary: characters and relationships
| Spanish | English |
|---|---|
| la prometida | the fiancée |
| el/la amante | the lover |
| la criada | the maid/servant |
| la hija mayor | the eldest daughter |
| la hija menor | the youngest daughter |
| la hermana | the sister |
| enamorarse de | to fall in love with |
| comprometerse | to get engaged |
| desobedecer | to disobey |
| escaparse | to escape |
| celosa/o | jealous |
| fuerte | strong |
Example sentences with context
Ejemplos con contexto:
- Angustias está comprometida con Pepe el Romano, pero no lo ama. (Angustias is engaged to Pepe el Romano, but she doesn't love her.)
- Adela se enamoró de Pepe el Romano y quiere escaparse con él. (Adela fell in love with Pepe el Romano and wants to escape with him.)
- Martirio está celosa porque también desea a Pepe. (Martirio is jealous because she also desires Pepe.)
- La Poncia es la criada que conoce todos los secretos de la familia. (La Poncia is the maid who knows all the family's secrets.)
- Las hermanas quieren liberarse de la casa. (The sisters want to free themselves from the house.)
Vocabulary: actions and dramatic elements
| Spanish | English |
|---|---|
| disparar | to shoot/fire |
| suicidarse | to commit suicide |
| ahorcarse | to hang oneself |
| enterrar | to bury |
| amenazar | to threaten |
| descubrir | to discover/reveal |
| imponer | to impose |
| condenar | to condemn |
| gritar | to shout |
| salir | to go out/leave |
| el deseo | the desire |
| la muerte | death |
| la libertad | freedom |
Example sentences with past and present tenses
Ejemplos en presente y pasado:
- Bernarda disparó contra Pepe el Romano pero no le dio. (Bernarda fired at Pepe el Romano but didn't hit him.)
- Adela se ahorcó porque creía que su amante estaba muerto. (Adela hanged herself because she believed her lover was dead.)
- Al principio de la obra, Bernarda acaba de enterrar a su segundo marido. (At the beginning of the play, Bernarda has just buried her second husband.)
- Martirio amenaza con descubrir el secreto de Adela. (Martirio threatens to discover Adela's secret.)
- Las hijas tienen un deseo incontenible de libertad. (The daughters have an uncontrollable desire for freedom.)
Important quotations and symbolic language
"¡Silencio!"
This is Bernarda's first and last word in the play. The repetition of this command at both the beginning and end creates a circular structure, suggesting that nothing has changed despite the tragedy. Bernarda continues to prioritize silence and the appearance of family honour over acknowledging the suffering and death caused by her tyranny.
Pronunciation tip: "Silencio" is pronounced see-LEN-thee-oh (in Spain) or see-LEN-see-oh (in Latin America). The emphasis is on the second syllable.
"Mujeres sin hombre, nada más"
La Poncia's blunt assessment of the daughters' situation reveals the societal view that women were incomplete without men. This phrase encapsulates the patriarchal attitudes that underpin the tragedy.
Study strategies for analysing the play
Understanding the importance of era and setting
When analysing La casa de Bernarda Alba, consider these questions:
- How does the rural Andalusian setting affect the characters' behaviour?
- Could this plot exist in a different era or culture? Why or why not?
- What specific attitudes and actions reflect the historical period?
- How does Bernarda represent the traditional values of her social class?
- In what ways do the daughters challenge or submit to these traditional expectations?
Analysing character motivations
Consider why each character acts as they do:
- What drives Bernarda's obsession with control?
- Why does Adela choose death over submission?
- How do economic factors (inheritance, poverty) influence the relationships?
- What role do the servants play in commenting on the family's situation?
Common mistakes and tips
Mistake 1: Confusing the sisters
Students often mix up which sister is engaged to Pepe (Angustias) and which one loves him (Adela). Remember: Angustias has the engagement ring, but Adela has his heart.
Mistake 2: Spelling and accents
Pay attention to written accents in Spanish:
- época (era) - not "epoca"
- dramaturgo (playwright) - no accent
- prohibir (to forbid) - no accent
- ahorcarse (to hang oneself) - no accent
Mistake 3: Gender agreement
Remember that adjectives must agree with nouns:
- la hija mayor (the eldest daughter) - not "el hija mayor"
- la obra dramática (the dramatic work) - not "el obra dramático"
- las tradiciones andaluzas (Andalusian traditions) - not "los tradiciones andaluces"
Mistake 4: Using the wrong tense
When discussing the plot, use the present tense in Spanish (even though we use past tense in English):
- Correct: Bernarda impone ocho años de luto. (Bernarda imposes eight years of mourning.)
- Incorrect: Bernarda impuso ocho años de luto. (when discussing the plot generally)
However, use the preterite when discussing specific completed actions:
- García Lorca escribió la obra en 1936. (García Lorca wrote the play in 1936.)
Tip 1: Remember the key numbers
- 5 daughters
- 8 years of mourning
- 3 acts
- 1936 - year written
Tip 2: Symbolism of the house
The house itself (la casa) is a powerful symbol representing confinement, tradition, and patriarchal control. The daughters' desire to leave the house symbolizes their yearning for freedom.
Tip 3: The significance of Pepe never appearing on stage
Pepe el Romano never appears on stage, which is significant. He remains an almost mythical figure, representing the outside world and male desire. His absence emphasizes how the play focuses on female experiences and oppression.
Remember!
Puntos clave para recordar:
-
La casa de Bernarda Alba is a three-act drama written by Federico García Lorca in 1936, set in rural Andalusia and exploring themes of female oppression and sexual repression.
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Bernarda Alba imposes eight years of mourning on her five daughters after her husband's death, forbidding them from leaving the house, which creates an atmosphere of suffocating control.
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The play's first and last word is "¡Silencio!" reflecting Bernarda's obsession with maintaining family honour and social reputation above all else, even in the face of tragedy.
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The central conflict involves Pepe el Romano, who is engaged to Angustias (the wealthy eldest daughter) but conducts a secret affair with Adela (the youngest daughter), whilst Martirio also desires him.
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The play ends tragically when Adela hangs herself after believing Pepe has been killed, choosing death as her only escape from her mother's tyranny, highlighting the devastating consequences of extreme repression and the clash between tradition and individual freedom.