La casa de bernarda alba teatro barcelona

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The elements of the simple scenography reaffirm the message that the director wants to convey. On the stage there is a cut tree trunk of which only the roots remain, a visual metaphor to describe the persistence of the past in the present life and the difficulty of getting rid of that which remains in the deepest and most ingrained part of the being.

“I hope that the play penetrates the spectator, that it provokes intellectual thought, but also stirs him or her inside. In the end, theater and culture are there to break clichés, to question ourselves and what surrounds us,” Plaza concludes.

Consuelo Trujillo and Rosario Pardo play Bernarda Alba and La Poncia, respectively. The cast is completed by Luisa Gavasa, Zaira Montes, Montse Peidro, Marina Salas, Ruth Gabriel and Ana Fernández, who will perform for a month opening the curtain of the Apolo theater in Barcelona.

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The story of Bernarda and her daughters, like our history, has its roots before its birth. Deep, twisted roots, of a very distant origin and perpetuated by who knows what dark interests. It is an ancestral origin that is sustained by fear. Bernarda fears that everything will change and her change will make her lose her apparent and imposed entity, she fears not knowing what to do with an authentic vital essence that will unbalance her and that is why she keeps the rules with which she was educated. The same could be said of her five daughters, inserted without choice in a world inflexible and barren but comfortable, anesthetic and uneducated that annuls them and for which they sell their freedom, except Adela and Maria Josefa … whose action of trying to realize themselves is condemned with death and madness.

It works on the ancestors who know neither understanding nor compassion towards the being they have created. As Saturn devours his children, Bernarda is devoured and devours her desires and those of her daughters and as a consequence their lives.

The house of bernarda alba plot

“The play has many new things to say in view of the tremendous political and social involution we are in, confirmed by what has just happened in Afghanistan. Not to mention the repression of women and the strength of religion in society. A cry had to be raised. We cannot turn our faces away from the same horrors,” says director Jose Carlos Plaza. The production, which premiered in Alicante this season, has been to several cities and will arrive in Madrid in May.

His vision now is different from when he staged the play in 1984. Then he opted for a realistic treatment where “even the smallest detail of Lorca’s work was in the staging,” he recalls. In the current production, on the other hand, “everything is reduced to the essence in order to have a greater impact. I have dispensed with all the accessories and eliminated some characters”. Theater and society have changed. “Everything now goes much faster. Any explanation in the theater kills the theater, hence the need to use ellipses and jumps to get to the point.”