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Introduction:
House of Bernarda Alba is a play written by Spanish poet and playwright Federico Garcia Lorca, who born in 1898. Lorca grew up in a rural part of Spain and lived a strict catholic life. His early life is reflected in the narrative of House of Bernarda Alba. The play explores the themes of class, rebellion, sex and love, Bernarda’s daughters trying to cope with the 8-year mourning period that they have been forced to abide with. The rebel of the household is Adela, at the young age of 18, she disobeys her mother’s order to stay at home, breaking the rules of the mourning period.
Adela’s introduction:
It could be argued that Adela’s personality represents an earlier Lorca, as he felt like a rebel in school and an outsider, hiding his sexuality. Moreover, Adela is also the youngest but risks her life by having an affair with a local man, Pepe El Romano, even though her sisters are all attracted to him. Her relationships vary with her sisters, often bickering with Magdalena, arguing with her mother and trying to reason with Martirio. These relationships can be presented through a variety of Stanislavski techniques and vocal skills.
Point Act 1
At the beginning of the play, Adela has a very lively, idealistic character, appealing and refreshing to an audience, as well as to her sisters.
Evidence(Quote) Act 1
‘I had such dreams about this dress.’
Explanation Act 1
is quite near to the beginning of the play, addressing her sisters; Amelia, Magdelena and Martirio. They are enjoying the excitement over the dress and laughing at her comments.
Practitioner
I believe that Stanislavski’s previous circumstances would be useful to use at this point. Adela should prepare herself off-stage; imagining the funeral and looking around for Pepe. At the wake she would have been keen to try and see him again, so she would have needed to be slightly impatient and agitated when communicating with her family.
Physical Act 1
There needs to be an equal emphasis on her physical life, to show her more carefree and fun-loving nature, in comparison to the others. She would have an upbeat physical energy and open body language when she proudly displays her dress. This audience see positive interactions with the sisters, who respond affectionately to her. Adela who is excited and rebellious, wanting to wear despite her mother’s strict instructions to wear black.
Vocal Act 1
She should use a passionate and longing tone on this line (“I had such dreams”) and an energised, fast paced quality to show her youth, this would work well as a contrast to what follows when she finds out her sister is engaged to Pepe, when she can use a disappointed, horrified tone, juxtaposing her previous behaviour.
Audience Act 1
This part of the scene is important because it is a small, rare moment of lightness where Adela’s presence stops Martirio and Magdalena arguing, as she creates an atmosphere of warmth. It is important for the audience as they need to arm to her so that later in the play her creates a reaction of shock.
Point Act 2
Another key characteristic of Adela is being a hopeless romantic and unable to hide her feelings of heartbreak and frustration to her sisters, however unable to truly hide her true feelings, ‘unable to sleep.’
Evidence(Quote) Act 2
“Leave me alone! Asleep or awake, it’s none of your business.”
Explanation Act 2
In Act 2, Adela has previously found out that Angustias is going to be engaged to Pepe El Romano, leaving her in a state of disbelief and shock, as she had an affair with him, due to her natively believing that she would get with Pepe.
Practitioner Act 2
Stanislavski’s previous circumstances would be necessary to portray Adela trying to mask her emotions in front of her sisters, them firstly being unaware and trying to cheer up her, adding inviting towards her, especially Maritirio. Adela once again should prepare herself, taking deep breaths in and out, trying to contain her emotions, so she would need to slightly clench her fists when her sisters talk about the engagement.
Physical Act 2
I believe it’s important to show the evident changes within Adela’s body language, to show her anger and assertiveness when talking to the sisters, more than the fun-loving nature that she portrayed in the previous act. She would have a more still and stern body language, however lacking in eye contact, unable to tell her sisters what’s wrong. The audience would see concerned, feeling empathetic towards Adela and her solemn state.
Vocal Act 2
Adela is upset and frustrated by her affair with Pepe El Romano and is unable to stop the arrangements for the wedding. She should use a shocked tone on this line(“What are you saying?”) and a slow pace, still processing what Poncia has just said, being breathing and panicked in her delivery.
Audience Act 2
This scene is important because it foreshadows the tone of the events within the story, as Adela stops being her happy life, isolating herself, blurting out her true ideas to Poncia, showing a different angrier caricature. This is important to the audience as they need to feel shocked about the way that Adela is treating her family members but also relate to her outburst, as she is young and inexperienced to love.
Point Act 3
In last act, Adela has grown deceitful and ignorant, unable to understand her sister's point of view, blinded by the affection shown by Pepe El Romano. This makes the audience see her in a darker light, idolizing Pepe’s affair with her, realising that she is feeding into her own hysteria.
Evidence(Quote) Act 3
“He came for the money, but his eyes were always on me.”
Explanation Act 3
At this point of the play, Adela’s jealousy over Angustia’s marriage has spiralled out of control, causing her to be disrespectful towards her sisters and her mother. Martirio is aware of Adela’s affair with Pepe, pleading her to stop, as it’s breaking her older sister's engagement. Her family members are astounded by her behaviour, but confused in why she is doing this.
Practitioner Act 3
Using Stanislavski’s objectives would be helpful to portray Adela’s burning rage. An example of this would be on her line “He loves me, he loves me,” using the objective ‘to explode’ as it highlights that Adela is no longer willing to hide her feelings anymore, truly not caring about how they react (linked to the trauma seen, Mother without husband being brutally killed) .
Physical Act 3
Her physical body language would be impulsive and assertive, ignoring Maritirio’s personal space, moving towards her with close proxemics. She would point violently in her sister’s face, showing how she is no longer containing herself due to her mother’s rules, invading her space. The audience would see Adela’s transition, acting hysterical, maintain strong eye contact with her sister.
Vocal Act 3
Adela is naive, new-found within her adulthood, unable to understand the severity of her affair, believing that she should be with Pepe El Romano. She would use an aggressive however defensive tone on the line “If one of us has to drown, let her drown!” She would speak with a fast and erratic pace, portraying her insecurity, portraying how much Adela is lovestruck by Pepe. These actions would heavily contrast with her beginning actions, putting her sisters’ first, instead now wanting Angustias to drown.
Audience Act 3
This ending scene is important as it portrays the genre of a tragedy, Adela unable to stop herself feeling this lust and envy for her sister, unable to be with the one she truly loves, instead killing herself, as a life without her love isn’t worth it. Moreover, it represents the shortcomings within the household's relationship, failing to identify Adela’s issues earlier, her death leaving an atmosphere of shock to the audience, speechless.
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