Federico García Lorca Writer's methods Flashcards

1
Q

When was the play written?

A

1936

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2
Q

When was Lorca assassinated?

A

August 1936 during the Spanish Civil War (Guerra Civil Espanola)

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3
Q

What time period was Lorca inspired by?

A

Ancient Greece

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4
Q

How did Ancient Greek plays inspire Lorca?

A

The main character (hubris) always has an arrogant or selfish personality which leads to their downfall (nemesis); this is similar to how Bernarda’s selfish and stubborn personality leads to the death of Adela

He also built the play around the three unities of time, place and action which were key features of Greek tragedies

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5
Q

What place does the play focus on and why?

A

The singular location of Bernarda’s house which allows Lorca to emphasise the feeling of confinement

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6
Q

Which two contrasting lifestyles are present in the play?

A

Life inside the house (imprisoned daughters and sexual repression) vs life outside (women are free to be with men and indulge in their sexual appetites)

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7
Q

What structure does the play follow in each act?

A

Act 1 - establishes the main characters and plot

Act 2 - the plot thickens

Act 3 - the plot unravels

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8
Q

What type of theatre was Lorca interested in writing?

A

Theatre that focussed on the lives of ordinary people, using vibrant native Andalusian language

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9
Q

Examples of Andalusian popular speech used in the play:

A
  • laísmo; the incorrect use of “la” instead of “le” for indirect objects e.g. “La quedan cinco mujeres.” - La Poncia, Act 1
  • the local use of the infinitive for commands e.g. “¡Ayudarla vosotros!” - Bernarda, Act 1
  • the placing of the definite article before the name e.g. La Poncia is colloquial and characteristic of uneducated Spanish
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10
Q

How does Lorca use Bernarda’s bastón/stick as a symbol?

A

The bastón represents Bernarda’s authority; she uses it to strike her daughters as punishment

The bastón is broken by Adela which symbolises how the youngest daughter’s rebellious spirit has triumphed over the cold, strict authority of her mother

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11
Q

What key word of dialogue is used to create a circular narrative?

A

Bernarda’s “¡Silencio!” said as her first and last line; the first line represents her authority whilst the last one represents her obsession with preserving her reputation

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12
Q

What does Bernarda’s house symbolise?

A

It symbolises oppression; the house is like a prison

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13
Q

How does Lorca use colours as symbols?

A

Adela’s colourful green and red fan stands out against the black mourning clothes and the white walls of the house

Red connotes passion and green connotes youthful energy; both being attributes of Adela’s personality

Adela’s green dress when she tends to the chickens in the yard represents her willingness to disobey her mother

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14
Q

How does Lorca use horses as a symbol?

A

The stallion kicking at the wall of the his pen is an auditory image which represents male sexuality; Bernarda calls for the horse to be let out which symbolises how men have sexual freedom

The female mares on the other hand are not allowed to leave the pen, symbolising women’s lack of sexual freedom compared to men

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15
Q

How does Lorca represent bad omens/bad luck?

A

When Magdalena spills salt

When Angustias receives a pearl ring from Pepe instead of a traditional diamond ring

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16
Q

What do the extremely white walls (habitación blanquísima) of the house represent?

A

White represents purity, virginity and sterility

17
Q

How does the colour of the room gradually change and what does this represent?

A

The room gradually becomes darker; Act 1 is “habitación blanquísima”, Act 2 is simply “blanca” and Act 3 is “cuatro paredes blancas ligeramente azuladas” (four slightly bluish white walls)

This reflects the gradual passage of time from daylight to evening light, but also represents the deterioration of Bernarda’s spotless reputation and the purity of her daughters

18
Q

What method does Lorca use to heighten the tensions inside the house?

A

He periodically introduces cautionary tales of sexual misconduct from the pueblo outside the house, warning the daughters inside on what could happen to them (gossip, rumours, disownment) if they were to partake in the same behaviours that the villagers on the outside do