Summary
Highlights
Dr. Cullell introduces "La casa de Bernarda Alba" as one of Federico García Lorca's most celebrated works. She provides a brief overview of Lorca's life, his significance as a member of the Generation of '27, and his international acclaim as a poet and playwright. She touches upon his assassination during the Spanish Civil War and the enduring presence of his work in modern arts.
Malcom Brown from Redlands College welcomes attendees to the international webinar on Hispanic literature and culture, highlighting Dr. Diana Cullell from the University of Vigo, who will discuss the role of women in "La casa de Bernarda Alba." He introduces Dr. Cullell, detailing her extensive academic background in contemporary Spanish poetry, including her publications and roles as editor-in-chief and visiting professor.
Dr. Cullell details that "La casa de Bernarda Alba" was Lorca's last play, written in spring 1936, and was first staged in Buenos Aires in 1945. She discusses whether it's a tragedy or a drama, noting Lorca's subtitle: 'Drama de mujeres en los pueblos de España,' emphasizing the lack of catharsis typical of a tragedy and the focus on the female experience. The play's realism is discussed, stemming from actual events Lorca observed, and its plain language, despite Lorca's claim of no poetry, is rich with symbolism.
The play begins with the strict mourning period imposed by Bernarda Alba after her husband's death, isolating her five daughters. The central conflict arises from the eldest daughter, Angustias, inheriting wealth and being courted by Pepe el Romano, who is also desired by her sisters. The forbidden affair between Adela and Pepe leads to high tension, Bernarda's violent reaction, and Adela's suicide, concluding with Bernarda's obsessive concern for family reputation and a renewed period of mourning.
The central characters are women, reflecting the play's subtitle. Bernarda, whose name means 'strong,' embodies authority and repression. Her daughters—Angustias (anguish), Magdalena (crying), Amelia (shadows), Martirio (martyrdom), and Adela (noble)—are driven by desire for Pepe el Romano. Adela, the youngest and most rebellious, and María Josefa, the grandmother, who openly voices the daughters' repressed desires, are highlighted.
Dr. Cullell identifies prominent themes including gender issues, sexual desire, tyranny, sterility, death, violence, and frustration. The play's circular structure, ending as it begins with death and mourning, creates a sense of inescapable fate. The three acts, progressing from midday to night, symbolize an accelerating climax. The confined indoor setting of the house, alongside recurring mentions of windows and the dangerous exterior, underscores the women's imprisonment and limited prospects.
Despite its realism, the play is rich in symbols. Character names, the 'white' Alba house, water (especially stagnant well water symbolizing sterility), blood (representing family and tradition), Bernarda’s cane (power and authority), horses (virility and impending violence), and colors (white for purity, black for mourning, Adela's green dress for hope) all contribute to a poetic realism. The theme of 'madness' as a voice of truth is also discussed.
Dr. Cullell opens a discussion on the social critique embedded in the play. She emphasizes Lorca's bold portrayal of the limited roles for women in Spanish society and the tragic consequences for those who defy expectations, as seen in Adela. She notes how often women in Lorca’s plays are condemned by other women, highlighting a complex critique of female roles. This, she argues, makes Lorca's work still highly relevant for understanding societal expectations and gender dynamics today.
Dr. Cullell elaborates on María Josefa, the grandmother, as a crucial and complex character. Initially presented with a touch of humor, she is deeply symbolic as the enclosed voice of truth and the conscience of the daughters. Her name, combining 'María' and 'José,' represents both masculine and feminine authority. María Josefa’s confinement and her open expression of desires for marriage and freedom underscore the tragic limitations placed on women, revealing a profound sadness beneath the humor.
Malcom Brown thanks Dr. Cullell for her insightful presentation. Dr. Cullell extends her gratitude for the invitation and offers her email for further questions, concluding the webinar.