** Federico Garcia Lorca, one of the most well-known Spanish playwrights and poets of the 20th century, wrote the drama "La casa de Bernarda Alba". The damaging power of familial and cultural restraints is explored, along with issues of repression and societal expectations.**
Context of La casa de Bernarda Alba
Author Background
Spanish playwright, poet, and theater director Federico Garcia Lorca is renowned for his lyrical and symbolist writing. He was a prominent character in the literary and artistic movement known as the Generation of '27, and his writing frequently explored complicated human emotions while addressing social and political issues.
Time and Place
Historical
"La casa de Bernarda Alba" was written when Spain was experiencing major political and social instability in 1936. The conflict and disputes that existed within Spanish society during the Second Spanish Republic and preceded the start of the Spanish Civil War are reflected in the drama.
Geographic
The play takes place in a tiny community in southern Spain's rural Andalusia region. The geographical setting has an impact on the social norms, cultural traditions, and sense of seclusion within the tightly-knit group shown in the drama.
Societal Context
Political
With references to the strict social conventions and gender roles enforced by the conservative Spanish society of the early 20th century, the political context of the drama captures the repressive atmosphere of the time. It also makes reference to the political unrest that existed at the time the Spanish Civil War began.
Socio-economic
The socioeconomic aspects of a wealthy landowner family are examined in the drama. The socioeconomic status of the characters and their desire to preserve their reputation and social standing heavily influence their behavior.
Cultural
"La casa de Bernarda Alba" explores rural Spain's cultural norms and traditions, focusing on the idea of honor, the suppression of women, and the complicated interactions inside a family. The conflict between societal norms and individual wants is highlighted in the play.
Need to Know About La casa de Bernarda Alba
Characters
Bernarda Alba: As the family's overbearing matriarch, Bernarda stands for repressive social conventions and stifles her daughters' aspirations.
Adela: The youngest and most disobedient daughter, Adela epitomizes fervor, rebellion, and a yearning for freedom within the constrictive framework of the family home.
Mara Josefa: Bernarda's old mother, Mara Josefa stands for female liberation and the repressed aspirations of women.
Angustias: Bernarda's eldest child from her previous marriage, Angustias is reportedly less liked by her mother and characterized as being plain. Due to her inherited wealth, she becomes a focal point in the family, which makes her sisters envious.
Martirio: Martirio is described as being spiteful and bitter. She is one of Bernarda's daughters. Her jealousy causes a fatal turn of events because she harbors an unrequited love for Pepe el Romano, who is engaged to her sister Angustias.
Magdalena, Amelia, and Martirio for (Adela's sisters): These sisters, who each represent various facets of society's expectations and repression, add to the strained environment in the home. They struggle with their needs, restrictions, and connection to Adela.
Poncia: As Bernarda's maid and confidante, Poncia offers commentary and insight into the happenings inside the home. She presents a counterpoint to Bernarda's domineering personality and provides a window into the characters' inner thoughts and intentions.
Pepe el Romano: Although he never makes an appearance on stage, Pepe el Romano nonetheless plays a vital role in the play. Although he is engaged to Angustias, he attracts the attention and passion of numerous of Bernarda's daughters, which causes bitter rivalry and tragic outcomes.
Literary Terms and Devices
- Personaje: The play uses a variety of personajes (characters) to examine the intricacies of human nature and societal expectations while portraying many parts of Spanish society.
- Ambiente: The play's ambiente (setting) is mostly confined to Bernarda Alba's home, which creates a tense and oppressive environment that reflects the authoritarian nature of the society being portrayed.
- Acotaciones (stage directions) are used throughout the play to control the performers' actions, facial expressions, and gestures. These acotaciones heighten the dramatic impact and establish the tone of the scenes.
- Público (audience): The play seeks to engage and generate emotional responses from the viewers, provoking contemplation on the subjects presented. As a result, the público (audience) is a vital aspect of the theatrical experience.
- Acto: The play is composed of several acts, each of which represents a different section of the plot and adds to the overall narrative framework.
- Tres unidades: In order to produce a seamless and well-defined storyline, the play follows the classical theater paradigm of tres unidades (three unities).
- Tragedia: The tragedy "La casa de Bernarda Alba" examines the negative effects of suppressed ambitions, societal restrictions, and the conflict between personal aspirations and societal standards.
- Diálogo: The play mainly focuses on conversation to depict the ideas, feelings, and conflicts of the individuals, exposing their relationships and the power dynamics in the home.
- Symbolism is used extensively in the play, with black representing grief and repression and things like the fan expressing societal appearances.
- Metáfora: The speech and monologues of the characters are given depth and richness by the use of metaphorical language to express emotions, relationships, and societal conceptions.
- Símil: similes highlight the characters' confinement and desire for escape by allowing for vivid descriptions and parallels, such as when the characters are likened to caged birds.
- Falla trágica: The play makes use of the idea of a tragic fault in its characters, especially Bernarda and Adela, whose flaws ultimately lead to their downfall.
- Irony is a literary device that contrasts appearance and reality, highlighting the inconsistencies and hypocrisy of both characters' behavior and societal norms.
- Prefiguración: The drama employs prefiguración (foreshadowing) by way of indirect allusions and cues, heightening tension and generating interest in the tragic events that take place.
- Hipérbole: Extreme emotions of the characters are emphasized, dramatic tension is heightened, and the repressive aspect of the setting is highlighted by the use of hyperbolic language.
Summary
The Casa de Bernarda Alba is a drama set in a rural Spanish town in the 1930s. It follows the story of Bernarda Alba, a domineering widow who forces her five daughters to remain in mourning for eight years following the death of her second husband. The play is a tragic exploration of the oppressive nature of patriarchal society and the powerlessness of women in a male-dominated culture.
The play follows the story of Bernarda and her five daughters, who are forced to remain in mourning and subject to Bernarda's oppressive rule. As the play progresses, the characters are forced to confront the tragic consequences of their situation, as they are unable to escape the oppressive society they live in. The play explores themes of oppression, patriarchy, repression, family, and tradition, as the characters struggle to make sense of their lives in a society that subjugates them. Through the use of symbolism, imagery, and metaphor, the play paints a vivid picture of the tragedy of a patriarchal society and the powerlessness of its citizens. The Casa de Bernarda Alba serves as an important work of literature that highlights the need for freedom and equality in a world where oppression and subjugation are still prevalent.
Act I: The play begins with Bernarda Alba announcing to her five daughters that they will remain in mourning for eight years following the death of her second husband. The daughters are then left to grapple with their oppressive situation and the strict rules imposed by Bernarda. Adela, the youngest daughter, is particularly frustrated and openly challenges her mother's authority.
Act II: In this act, tensions between Bernarda and her daughters come to a head. Adela continues to challenge her mother's authority and declares her love for Pepe el Romano, a man forbidden to her. This sparks a heated argument between Bernarda and Adela, and Bernarda eventually relents and allows Adela to marry Pepe.
Act III: In the final act, tragedy strikes when Adela commits suicide. The family is left in shock, and Bernarda is left to grapple with the tragedy of her daughter's death. In the end, the family is left with a sense of tragedy and hopelessness, unable to escape the oppressive society they live in.
Themes:
La dualidad del ser
- Through the interior difficulties and contradictions of the characters, the drama explores the idea of la dualidad del ser (duality of being). They demonstrate the complexity of human nature and the conflicts that exist between one's inner self and the roles that are prescribed by society by struggling between adhering to societal expectations and yearning for personal freedom.
La construcción del género
- By illustrating the restrictive gender norms and demands put on women in the society of Spain at the time, the film "La casa de Bernarda Alba" dives into the topic of la construcción del género (the creation of gender). The characters are constrained to play specific roles in order to highlight the constraints and effects of cultural standards on personal identity and agency.
El sistema patriarcal y las divisiones socioeconómicas
- The drama depicts the impact of the patriarchal system and the socioeconomic status-based divisions in society. The power relationships in the home are influenced by both gender and class, with Bernarda representing the patriarchal order and holding onto the family's wealth.
Assimilation and marginalization
- The themes of assimilation and marginalization are portrayed through the characters' struggles with societal pressures to fit in and play by the rules. Adela and other people who don't conform to social norms experience marginalization and exclusion in their own communities.
La diversidad
- By highlighting the characters' disparate personalities, goals, and views, the drama explores the concept of la diversidad (diversity). The characters illustrate the variety and richness of individual identities under a constrained and oppressive context by each representing a distinct facet of the human experience.
El machismo
- The drama is greatly affected by patriarchal standards and expectations, which makes the concept of el machismo (male chauvinism) a recurring motif. The drama examines how machismo negatively affects women's life, relationships, and autonomy.
La tradicion y la ruptura
- "La casa de Bernarda Alba" addresses the themes of tradition and disruption by highlighting the conflict between the need for change and adherence to long-standing social norms. The play's core tension arises from the characters' effort to break free from repressive traditions and assert their individuality.
La trayectoria y la transformación
- As the stories of the characters' journeys develop, the themes of trajectory and transformation become clear. The drama demonstrates the course of their lives and the transforming effect of society's limitations, from their initial conforming identities to their eventual rebellion or catastrophic endings.
El amor y el desprecio
- Through the intricate relationships between the characters, the concepts of el amor (love) and el desprecio (contempt) is explored. Love highlights the destructive nature of repressed impulses and societal expectations by being intertwined with sentiments of resentment, envy, and power dynamics.
La comunicación o falta de comunicación
- The play's depiction of the characters' tense and constrained interactions makes clear the issue of la comunicación (communication) or falta de comunicación (lack of communication). Misunderstandings, secrecy, and the inability to confront underlying issues are all made worse by a lack of open and honest communication.
La imagen pública y la imagen privada:
- The issue of "public image" and "private image" is present as the characters negotiate the conflict between upholding appearances and their own inner wants and conflicts. The difference between the characters' public personas and their private selves adds to the overall feeling of repression and suppressed feelings.
- Oppression: The play explores the oppressive nature of a patriarchal society and how it can lead to tragedy andeir subjugation.
- Patriarchy: The play examines the power of the patriarchal system and how it can lead to the oppression of women and the subjugation of their rights. Through the story of Bernarda and her daughters, the play shows how a male-dominated society can lead to the repression of women and their inability to escape such an oppressive environment.
Analysis and Significance
Federico Garcia Lorca creates a tragic tale in "La casa de Bernarda Alba" that explores the intricacies of human nature, societal limits, and the destructive power of repression. The drama draws light on the repressive social conventions and gender roles that were enforced by Spanish society at the time through its investigation of issues like the dualidad del ser, la construcción del género, and the patriarchy. It illustrates the characters' struggles for personal independence within a constrained setting, their conflicts and contradictions, and the terrible outcomes of certain actions.
"La casa de Bernarda Alba" is significant because of its potent critique of the repressive factors that limit and discourage individuality, especially for women in a patriarchal and traditional culture. The drama highlights the oppressive environment of societal norms, the negative impacts of gender roles, and the results of suppressed urges. The play acts as a mirror to reflect on the restrictions and negative effects of social norms through its study of issues like love and contempt, communication or lack thereof, and the conflict between tradition and rebellion. "La casa de Bernarda Alba" is a timeless work of literature that continues to resonate and inspire reflection on the human condition because of Lorca's portrayal of these subjects and their characterizations.
** The Casa de Bernarda Alba is an important work of literature that explores the oppression of women in a patriarchal society. It serves as an example of the powerlessness of women in a male-dominated culture and the tragic consequences of such an oppressive system. The play highlights the need for freedom and equality in a world where oppression and subjugation are still prevalent. It is a powerful reminder of the need to challenge oppressive systems and fight for a more just and equitable world.**
Frequently Asked Questions
What's the difference between acotación and diálogo in La casa de Bernarda Alba?
Acotación = las indicaciones del autor que no hablan los personajes: describen el ambiente, la puesta en escena, gestos, movimientos, tono y a veces el significado simbólico (por ejemplo, el bastón, el luto, puertas que se cierran). En La casa de Bernarda Alba las acotaciones de Lorca guían al público y al lector sobre la atmósfera opresiva y la tensión entre lo público y lo privado; funcionan como recurso dramático para reforzar temas (represión, patriarcado, honor) y para controlar ritmo y espacio (las “tres unidades”). Diálogo = lo que dicen los personajes en escena; es el medio principal para desarrollar personaje, conflicto y tema. El diálogo revela relaciones (Bernarda/las hijas, La Poncia), intenciones y ironías, y sirve como evidencia textual en el examen para analizar tono, voz y conflicto. En la prueba AP te pueden pedir explicar la función de acotaciones o diálogo en el desarrollo del tema (Skill 1). Más ayuda en el study guide de este tópico (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) y práctica (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
I don't understand the simbolismo of the colors white and black in this play - can someone explain?
In La casa de Bernarda Alba, white and black are loaded symbols about repression, honor, and public image. Black = luto (mourning) and social control: Bernarda imposes eight years of black clothes to enforce patriarchal honor, erase individuality, and keep daughters isolated—black marks the house as prison/tradition. White often links to desire, youth, and forbidden freedom (Adela’s white dress in Act 3 represents rebellion, sexual longing, and the private self breaking the public mask). Lorca contrasts them to show la dualidad del ser: outward conformity (black, social expectation, Bernarda’s bastón of authority) vs. inner life (white, love, sexual frustration). On the AP exam, mention these colors when analyzing símbolo, ambiente, and theme development (represión sexual, imagen pública/privada, tradición vs. ruptura). For more details and exam-focused examples, see the topic study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) and practice questions (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
How do I write about el sistema patriarcal in my AP essay without just summarizing the plot?
Don’t retell the plot—argue. Start with a clear thesis about how Lorca criticizes el sistema patriarcal (por ejemplo: “En La casa de Bernarda Alba, Lorca muestra el patriarcado como un sistema opresivo que controla la sexualidad, el honor y la conducta pública de las mujeres”). Luego, pick 3–4 focal points: personajes (Bernarda, Adela, La Poncia), símbolos (el bastón, el luto, la casa cerrada), y recursos dramáticos (acotaciones, diálogo, ironía, prefiguración). For each point, offer a short quote/escena and explain how it supports your thesis—not what happens, but what it reveals about poder, control social, y represión sexual. Conecta eso al contexto cultural (honor, tradición) to meet the CED’s “cultural context” requirement. Remember exam rules: have a thesis, use specific textual evidence, analyze literary devices, and situate the work culturally (35 minutes for Question 3). For focused review, see the topic study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) and more unit resources (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6). Practice with the 1000+ questions (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
When do I use preterite vs imperfect when discussing what happened to the characters?
Usa el pretérito para acciones completas, puntuales o cambios importantes en la trama (eventos que ocurren una vez y mueven la acción). Ej.: “Pepe el Romano llegó” / “Adela se rebeló”—hechos que marcan un punto de inflexión. Usa el imperfecto para el trasfondo, hábitos, descripciones y estados en curso: ambiente, carácter y acciones repetidas. Ej.: “Bernarda imponía el luto” / “las hijas lloraban” / “la casa estaba cerrada”. En análisis literario (AP CED: Skill Category 1, uso idiomático en FRQs) combina los dos para mostrar relación causa-efecto: mientras (imperfecto) establece la situación, luego (pretérito) indica el evento decisivo. Ej.: “Mientras Bernarda controlaba la casa (imperfecto), Adela desafió las reglas y se enfrentó a ella (pretérito).” Precisión en tiempos verbales también afecta la puntuación de lenguaje en las respuestas. Para repasar ejemplos del texto y practicar, mira el tema en el study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) y haz ejercicios en (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
What does "falla trágica" mean and which character has it in Bernarda Alba?
"Falla trágica" = el defecto moral o psicológico de un personaje que, por orgullo o error, provoca su ruina o la de otros; es clave en la tragedia (causa la cadena de acciones que terminan mal). En La casa de Bernarda Alba, la falla trágica principal se atribuye a Bernarda: su autoritarismo extremo, su obsesión por el honor y la reputación social, y su necesidad de controlar a las hijas. Esa rigidez reprime los deseos (sexo, amor, libertad) y crea el conflicto que desemboca en la rebelión y la muerte de Adela. Puedes analizar cómo esa falla conecta con temas del CED: patriarcado, represión sexual, imagen pública/privada y la tradición vs. ruptura. Para practicar preguntas de examen sobre falla trágica y personajes, revisa el study guide de este tema (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) y los ejercicios de práctica (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
I'm confused about the tres unidades - what are they and how does Lorca use them?
The "tres unidades" are the classical unities: unidad de acción (one main plot), unidad de tiempo (events happen within a short, continuous period), and unidad de lugar (one setting). Lorca uses them deliberately in La casa de Bernarda Alba to concentrate dramatic tension. Unidad de lugar: almost the whole play stays inside Bernarda’s house, creating claustrophobic ambiente and emphasizing repression. Unidad de tiempo: the action unfolds during the prolonged period of luto (mourning) after the father’s death, keeping time compressed and urgent. Unidad de acción: the central conflict—Bernarda’s control vs. the daughters’ desires around Pepe el Romano—drives all scenes without major subplots, which makes the play feel like a modern tragedia. Also note Lorca’s acotaciones and structure (three actos) shape pacing and prefiguración, reinforcing the unities. For more AP-aligned notes, see the topic study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) and practice problems (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
Can someone explain the difference between ambiente and personaje for my literary analysis?
Ambiente vs. personaje: piensa así—el personaje es “quién” (Bernarda, Adela, La Poncia, Pepe el Romano) con rasgos, deseos y conflictos; el ambiente es “dónde/cómo” (la casa, el luto, el calor, el patio cerrado, las acotaciones que indican silencio) que condiciona y refleja a los personajes. En La casa de Bernarda Alba Lorca usa el ambiente (el espacio claustrofóbico, el bastón, el luto, la falta de aire) como símbolo y fuerza dramática: limita opciones, intensifica la represión sexual y el sistema patriarcal, y revela la dualidad del ser. Cuando analices para el examen (preguntas de análisis o el ensayo de texto único), conecta rasgos de personajes con elementos del ambiente: muestra cómo el diálogo, las acotaciones y las tres unidades refuerzan temas como honor, tradición y ruptura. Revisa el estudio guiado de este tema (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) y practica con problemas en (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
What are some good transition phrases I can use when comparing Bernarda Alba to the Tomás Rivera story?
Para comparar La casa de Bernarda Alba con “La noche buena” (. . . y no se lo tragó la tierra) usa frases que aclaren semejanzas, diferencias y relaciones causales entre tema, personajes y recursos literarios —recuerda que la Pregunta 4 del examen pide comparar cómo se desarrolla un tema usando evidencia. Aquí tienes colecciones útiles: - Para introducir comparación general: "De manera similar," "Igualmente," "Del mismo modo," "Al igual que" - Para señalar diferencias: "En contraste," "Por el contrario," "Mientras que," "A diferencia de" - Para conectar causa/efecto o desarrollo del tema: "Como resultado," "Por consiguiente," "Debido a," "Esto conduce a" - Para matizar o reconocer excepción: "Sin embargo," "No obstante," "Aunque" - Para precisar recursos literarios: "En cuanto a los símbolos," "Respecto al diálogo y las acotaciones," "En lo que se refiere al ambiente" - Para concluir o sintetizar: "En resumen," "En conclusión," "Por lo tanto" Úsalas para enlazar párrafos que comparen, por ejemplo, el patriarcado y la represión en Bernarda con la marginalidad y supervivencia en Rivera (ver guía del tema: https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl). Para más práctica, revisa ejercicios en (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
How do I conjugate verbs in the subjunctive when writing about what the characters want or feel?
When you write about what characters want, fear, or feel in La casa de Bernarda Alba, use the subjunctive after verbs of desire, emotion, doubt, or influence (quiero que, teme que, duda que, pide que). For present-time ideas use the present subjunctive: form the yo present, drop -o, add endings: -ar → e, es, e, emos, éis, en (hable, hables, hable, hablemos, habléis, hablen); -er/-ir → a, as, a, amos, áis, an (coma, comas, coma…). Irregulars: sea, vaya, dé, sepa, esté. For past or hypothetical situations use the past subjunctive (-ara/-iera): hablara, comiera, quisiera. Quick AP-style examples tied to characters: - Bernarda quiere que sus hijas obedezcan. (obedezcan = present subjunctive) - Martirio teme que Adela esté con Pepe el Romano. (esté = present subjunctive) - Angustias dudaba que Pepe viniera. (viniera = past subjunctive) On the exam, accurate mood use is part of Language and Conventions (Skill 6), so vary tenses and show control. For more practice tied to Unit 6, see the topic study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) and try practice questions (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
I missed class - what's the deal with Adela and why is she so rebellious against her mother?
Adela is the youngest daughter and the play’s symbol of rebellion against Bernarda’s strict, patriarchal control. She wants sexual and personal freedom (represión sexual, la construcción del género) and falls in love with Pepe el Romano, which directly challenges Bernarda’s rules, the luto, and the family’s honor code. Adela refuses to accept the imposed public image and seeks a private life—that tension ties to themes like tradición y ruptura and la dualidad del ser. Her rebellion grows from youth, desire, and the claustrophobic house (ambiente) where Bernarda’s bastón and orders represent authoritarian power. Dramatically, Adela’s choice leads to tragic consequences (falla trágica/prefiguración) and she becomes a critique of the sistema patriarcal. On the exam, be ready to link Adela’s actions to broader themes and cite specific acotaciones or lines. For a quick review, check the topic study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) and practice questions (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
What's the difference between metáfora and símil and can you give examples from the play?
Metáfora: es una comparación implícita: un elemento representa a otro sin usar palabras comparativas. En La casa de Bernarda Alba, la propia casa funciona como metáfora de la opresión y del patriarcado: las paredes, el luto y el encierro no son solo escenario, sino la representación de la represión social y sexual que sufren las hijas. El bastón de Bernarda es otra metáfora del poder y la autoridad (símbolo que encarna su control). Símil: es una comparación explícita que usa palabras como "como" o "tal como". Lorca usa símiles para enfatizar sensaciones o actitudes (por ejemplo, comparaciones que describen gestos, llantos o la naturaleza del deseo de Adela). En una respuesta de examen, debes identificar si la figura funciona como símbolo/metáfora (estructura social) o como símil que intensifica emoción. Para ejemplos textuales y práctica, revisa el estudio guía de Topic 6.1 (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) y haz ejercicios en (https://library.fiveable.me/practice/ap-spanish-literature-and-culture). En el FRQ, cita la línea y explica la función de la metáfora/símil en el tema (p. ej., construcción del género, represión).
When writing about machismo in the play, should I use present tense or past tense to discuss the themes?
Use the present tense for literary analysis: treat machismo as an enduring theme the text “shows,” “reveals,” or “critics” (e.g., “La obra muestra el machismo…”). The AP CED expects you to analyze themes and devices in the present (skill category 1: Analysis), so use the historic/present tense when explaining how Lorca develops machismo through characters (Bernarda, Pepe el Romano, La Poncia), symbols (el bastón, luto), and acotaciones. Use past tense only for specific historical facts or when summarizing plot events briefly (e.g., “En el acto tercero, Adela se rebeló…”). For exams, consistency matters: present for claims about meaning and technique, past for narrative sequence. For quick review, see the Topic 6.1 study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) and Unit 6 overview (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6). For extra practice, try the AP practice problems (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
I don't understand how to connect "la construcción del género" to specific scenes - help?
Think of "la construcción del género" as how Lorca shows what “being a woman” means in that society—and then point to scenes that prove it. - Bernarda’s first monologues and rules (actos I–II): she imposes strict dress, silence, and honor codes (el bastón, el luto). That’s institutional gender construction—women reduced to reputation and obedience. - La Poncia’s acotaciones and conversations with Bernarda: she explains the social pressure and how women learn these roles. Use her lines as social commentary. - Adela’s final scenes (actos II–III): her rebellion against sexual repression exposes gender as constructed (she asserts desire, rejects submissive role). - Angustias vs. Martirio: Angustias’s inheritance shows economic gender power; Martirio’s bitterness shows internalized norms and rivalry. On the exam, tie each claim to specific lines or acotaciones, connect to character development and the patriarchy theme, and explain how devices (símbolos, diálogo, ironía) reveal gender construction (Skill Category 1). For quick review, see the topic study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) and practice questions (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).
What does "prefiguración" mean and where do we see it in Act 1?
Prefiguración = foreshadowing: pistas que el autor deja para anticipar hechos o el tono trágico más adelante. En el Acto 1 de La casa de Bernarda Alba ves prefiguración en varios recursos (acotaciones, diálogo, símbolos) que alinean con temas del CED como el patriarcado, la represión sexual y la tradición vs ruptura. Ejemplos concretos en Acto 1: - El bastón de Bernarda: su autoridad física y la frase “mi madre y yo” y la insistencia en el orden y el silencio prefiguran la opresión y conflicto con las hijas. - El luto riguroso y las acotaciones sobre el calor y la casa cerrada: ambiente que anuncia asfixia social y emocional. - Comentarios sobre la dote de Angustias y la atención a los hombres: anticipan la rivalidad amorosa (Pepe el Romano) y el choque entre deseo y honor. - La presencia de María Josefa y su anhelo de libertad: insinúa la tensión entre la imagen pública y la vida privada. Para recordar estas y otras pistas clave, revisa el study guide de Fiveable (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl). En el examen, identifica la técnica (prefiguración) + evidencia textual (diálogo o acotación) y explica cómo anuncia la tragedia.
How do I write about the contrast between imagen pública and imagen privada without being too obvious?
Focus on showing rather than telling: build a tight thesis that links imagen pública/privada to specific devices (diálogo vs. acotaciones, símbolos, tono/ironía, ambiente). Instead of saying “Bernarda fakes honor,” quote a short line or acotación (e.g., el bastón, el luto, las puertas) and analyze how stage directions reveal private fear or desire. Contrast public actions (Bernarda imponiendo el luto, el “qué dirán”) with private moments (Adela’s furtive gestures, las miradas, las conversaciones con La Poncia) and explain how Lorca uses silencio, espacio cerrado y símbolos (color blanco/verde, el bastón, el jardín) to dramatize the split. On the AP essay, tie each example to a literary term (símbolo, ironía, ambiente) and keep paragraphs focused: claim → brief quote/acotación → analysis showing how form reveals public vs. private. For more guidance and text examples, see the topic study guide (https://library.fiveable.me/ap-spanish-literature-and-culture/unit-6/la-casa-de-bernarda-alba-federico-garcia-lorca/study-guide/4UXVdfvvarN4lu6ajaHl) and practice questions (https://library.fiveable.me/practice/ap-spanish-literature-and-culture).