Repression and Rebellion in The House of Bernarda Alba

Conflict Between Authority and Freedom

The House of Bernarda Alba presents as its main theme the constant confrontation between a rigid, authoritarian model of behavior and an open, progressive one. Since the beginning of the work, this rivalry appears with Bernarda practicing as the "head of household," while Adela and Maria Josefa rebel and confront her domain. The other daughters and maids fear Bernarda, so they recede into a background of resignation to her power.

The Cycle of Mourning and Repression

A period of mourning opens this drama and a period of mourning closes it. With the death of her husband, Bernarda closes and bolts the house with her five daughters inside; after Adela's suicide, she returns to do the same. Thus arises a conflict of young women fighting for their happiness and the possibility of marriage. The main obstacle is their own mother, who contains the passions of her daughters under tyrannical repression, turning the house into a prison for their youth and desires.

The Catalyst: Pepe el Romano

Only one event breaks this routine: the courtship of Pepe el Romano and Angustias, the eldest sister and the wealthiest, but also the least physically graceful. This lights the fuse of a dispute centered primarily on three points: Angustias receiving the young man at her window every night with the consent of her mother; Adela, who suffers most severely from the prison of the house and, pushed by passion, intrudes between her sister and Pepe el Romano; and Bernarda, who must maintain order in the house.

Rising Tension and Internal Desires

In a gradual way, the temperature of the drama rises, and Martirio tries to convince Adela to leave Angustias' fiancé alone. The house then becomes a pressure cooker, simmering with the innermost desires of the girls.

Adela’s Rebellion Against Maternal Authority

However, Adela's desire for freedom and the momentum of love are stronger than her fear of maternal authority. The girl expresses her rebellion from the beginning of the work:

• Using a fan with red and green flowers instead of a black fan as a sign of mourning.
• She puts on her green dress and goes to look at the chickens.
• Expressing her desire for freedom and her decision to break Bernarda's rules.

Finally, there is a direct confrontation with her mother: "Here end the voices of prison! This I do with the rod of domination. Do not take another step. No one commands me but Pepe!"

The Tragic Conclusion of Tyranny

But the moment of her freedom is fleeting, as Adela's suicide closes the path to freedom for her sisters. Bernarda returns to her role of ultimate authority; if any of the daughters were tempted to dream of love or freedom, she would present the bitter end of Adela as a warning.

Maria Josefa, a character battered and cloistered in a room, provides a channel for rebellion through madness, which gives her the strength to confront and denounce Bernarda's tyranny and the suffering of the other women.

In summary, the oppression and authoritarianism of Bernarda cause two sterile responses: the madness of Maria Josefa and the tragic suicide of Adela.