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Lorca's The House of Bernarda Alba: Visual and Aural Cues Contributing to an Appreciation of Interaction

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  • Essay length: 3367 words
  • Submitted: 20/06/2006
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University Degree Literary Criticism

The first 200 words of this essay...

James S. Bowling

Professor Leonard

MALS 775

29 March 2005

Lorca's The House of Bernarda Alba: Visual and Aural Cues Contributing to an Appreciation of Interaction

"She... died a virgin. Do you hear me? !Silencio!, !Silencio!, I said. !Silencio!"-Bernarda Alba, The House of Bernarda Alba

Federico Garcia Lorca (1898-1936) belongs to that class of Spanish poets and artists (e.g., Dali, Picasso) that came to prominence in the inter-war period.¹ If their antecedents in the latter years of the 19th century retain a sometimes wry perspective of the human condition - Ibsen plays, even in their darkest moments, retain an element of whimsy - Lorca's so-called "rural" trilogy most assuredly do not.2 Arguably, the massive number of military and civilian casualties incurred during World War I, combined with the social and political upheavals such a disaster fosters, can produce a type of self-destructive nihilism within the human psyche.3 Unlike Ibsen, in Lorca that destructive impulse does not so much arise out of the actions - however innocent - of others, but rather, manifests itself sui generis, an implacable, chthonic urge to reorder the human condition into something it naturally is not. In Lorca's

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