In this thesis, I take the reader through the process and particular challenges of directing The House of Bernarda Alba, from choosing a translation, to casting from a pool of mostly undergraduate actors, to staging a show in-the-round. More particularly, I compare my previous work with adaptation to this process of treating the script as a fixed entity. I also offer a detailed explanation of the exploratory work I did with the actors in building the physicality of the play-world and exploring the relationships of the characters. For this, I drew heavily on Anne Bogart’s composition exercises, found in The Viewpoints Book. In this thesis, I transcribe and analyze some of the material generated through these exercises. Finally, I endeavor to prove that a certain freedom can be found through structure, and that the challenge of this production - which was assigned to me rather than a personal choice - helped me develop a more subtle creative voice than I had previously possessed.

This essay is an analysis of the character María Josefa in the play 'The House of Bernarda Alba' (1936) by Federico García Lorca. It is hypothesized that the character of María Josefa can be considered a distorting mirror of the femininity presented in the play, and that through María Josefa this femininity is both revealed and problematized. The analysis adopts theories from the field of the (female) grotesque, using terminology both from Mikhail Bakhtin and Mary Russo. Throughout the analysis it is demonstrated how the character of María Josefa challenges the boundaries and norms which are dictated by Bernarda to control the women of the house. These conventions are challenged by María Josefa with the use of her loud speech, her dressed up appearance, and in her physical resistance. In this manner María Josefa is creating and embodying an alternate feminine view that is uncovered through her consistent provocation and by making herself into "a spectacle", a transboundary behaviour that is well interpreted within the theories of carnival, the grotesque body, and the spectacle of the female grotesque.

A discussion of the abstract approach for the lighting design of the Theater Department’s Fall 2010 production of Federico García Lorca’s The House of Bernarda Alba through the use of time of day and “clean and dirty” light.

Os motivos de honra e honor na dramaturgia de Federico García Lorca. Análise da trilogia rural, Bodas de sangre, Yerma e La casa de Bernarda Alba. Os motivos de honra e honor e suas funções no desencadeamento das tragédias. Honra e honor como traços culturais da região de Andaluzia. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-22T16:35:21Z No. of bitstreams: 1 Dissertacao Luciana C dos Santos.pdf: 504960 bytes, checksum: 7c78d65e33f25e995a6b1d656c653188 (MD5) / Made available in DSpace on 2014-05-22T16:35:21Z (GMT). No. of bitstreams: 1 Dissertacao Luciana C dos Santos.pdf: 504960 bytes, checksum: 7c78d65e33f25e995a6b1d656c653188 (MD5) / Los motivos de honra y honor en la dramaturgia de Federico García Lorca. Análisis de la trilogía rural, Bodas de sangre, Yerma y La casa de Bernarda Alba. Los motivos de honra y honor y sus funciones en el desencadenamiento de las tragedias. Honra y honor como trazos culturales de la región de Andalucía.

Os motivos de honra e honor na dramaturgia de Federico García Lorca. Análise da trilogia rural, Bodas de sangre, Yerma e La casa de Bernarda Alba. Os motivos de honra e honor e suas funções no desencadeamento das tragédias. Honra e honor como traços culturais da região de Andaluzia. / Los motivos de honra y honor en la dramaturgia de Federico García Lorca. Análisis de la trilogía rural, Bodas de sangre, Yerma y La casa de Bernarda Alba. Los motivos de honra y honor y sus funciones en el desencadenamiento de las tragedias. Honra y honor como trazos culturales de la región de Andalucía.

El presente trabajo está orientado a detectar los símbolos y metáforas ambivalentes en la obraLa Casa de Bernarda Alba de Federico García Lorca. Debido a que hay pocos estudiosdedicados al simbolismo de la frustración, se ha concentrado en analizar dicha temática. Paraanalizar el concepto de frustración, primero ha sido necesario comprender cómo eraconcebida la moral de la época en que se inscribe la obra. En segundo lugar, ha sidofundamental entender cómo surge la frustración en el ser humano. Atendiendo a estascuestiones se ha aplicado la teoría del formalismo iluminista y una visión freudiana sobre lasteorías del psiquismo. En base a estas nociones se detectaron cuatro símbolos ambivalentesque connotan sentimientos de frustración: el blanco, el olivo, la maroma y el mar. Estossímbolos antitéticos contienen una fuerza negativa que se impone a la fuerza positiva, lo cualtiene como resultado la frustración. Las fuerzas contradictorias están presentes durante laobra entera. Esta característica no solo se manifiesta a través de los tropos estudiados, sinoque también se detectó que a menudo las fuerzas antitéticas se hacen presentes enprotagonistas que forman grupos ambivalentes, donde cada personaje actúa como una fuerzaopuesta, lo cual lleva hacia una tensión permanente entre una persona positiva y otranegativa.

The tragedy, La casa de Bernarda Alba, by Federico Garcia Lorca is generally recognized as one of the finest poetic tragedies of the Twentieth Century, yet it has not drawn the critical attention afforded the plays of Lorca's contemporaries, such as 'Tennessee Williams, for example. Ironically, Williams' early plays evince a definite. Lorquian influence. Close attention has been paid to the poetic texture of.Williams plays, providing an important contribution to understanding the art of his poetic tragedy. The same has not been true of Lorca. This may he due partly to the fact that Lorca's ·tragedies have not played very well in the United States and partly due to political considerations in his native Spain. It is the purpose of this essay to make a detailed analysis of the poetic structure of La casa de Bernarda Alba to show Lorca's brilliant welding of the basic elements 10f' the drama into one underlying statement of theme, This will be accomplished through a close reading of the play as originally written in the Spanish language with especial attention paid to its setting, dominant image patterns, characters, and action. These, then, will be examined and elucidated in relationship to thematics, thus demonstrating Lorca's dramatic technique of fusing these fundamental parts through use of language and symbol into one unified whole.

In this thesis, the main male characters in three of the plays written by Federico García Lorca are analysed with the aim of seeingthe role they play in the frustration of desire. After two chapters dedicated to a review of published critical studies on Lorca and tocertain theoretical considerations, Chapter Three examines desire drawing on Ubersfeld's actancial model and observes that thesemale characters can be divided into two groups: those who are desired and those who are undesired.In Chapter Four this classification is linked to an analysis of absence, prohibition and lack. Absence is here defined not asrelated to their non-appearance on stage but rather to their non-presence in the lives of the desiring female protagonists. It isobserved that a number of male characters are absent in the plays mainly due to death or a journey. As far as prohibition isconcerned, in two of the works, there is a moral code associated with concepts such as "honour" and "decency", which blocks thefemale characters' access to the males they desire. Chapter Four also shows how several characters can be considered as lacking inthe sense that they do not possess the ideal male qualities contained in the plays. This chapter reaches the conclusion that desiredmale characters are either absent or forbidden in the world of the desiring female, whereas undesired male characters are lacking inthe sense that they fail to live up to the ideal highlighted in the plays.Chapter Five analyses the female characters' perception of the male figures, making use of René Girard's notion of"transfiguration", which alludes to a process of idealisation of the object of desire. Our analysis reveals a connection betweendesire, denied access to the object of desire and transfiguration in the main subjects of desire. The phenomenon of "transfiguration"has several functions in the play: firstly, the creation of hyperbolical male characters; secondly, that of transmitting the intensity ofthe desire experienced and, finally, the highlighting of the lack of certain qualities in several male characters.We thus observe that, in these three plays written by García Lorca, Girard's pessimistic view of desire is confirmed, since desireneeds a series of obstacles, such as absence or prohibition, to survive. However, this is not the only explanation for the frustrationof desire: other factors, like the actions of certain male characters or destiny, also play a decisive role.