Understanding The House of Bernarda Alba by Federico García Lorca

The House of Bernarda Alba:
Biography: Federico García Lorca was born in Granada in 1898. He lived in Madrid and met Dalí, Alberti, and others. He traveled to the U.S. and Cuba, and upon his return to Spain, the Civil War broke out. Due to his position and his anti-fascist Republican trend, he was shot in 1936. His literature is inherited from the Generation of '98. For Lorca, theater was a way to educate the people, a didactic goal.
His Works: Among his plays are: Blood Wedding, Trip to the Moon, and more.
Comment Text: We are faced with an excerpt from his book The House of Bernarda Alba, published in 1936 but not released in Spain until after the Franco dictatorship. In this work, considered by critics as the fundamental work of Lorca, the author shows us his most characteristic themes: freedom from authority, erotic beats facing the natural instincts, social and moral standards, love triangles, and the importance of honor.
Issue: This fragment belongs to the act [...] which does not [explain briefly]. Here is how it [explains what you say with examples and relates with C. Hist.]
Structure: Internal chronological order [say briefly what happens in the acts]. Outsourcing: the work is divided into three parts: presentation, middle, and end.
Characters: In this piece, several verb forms are used, but the most common is the present, making reference only to the past. The predominant type of prayer is simple prayer. The text contains evaluative adjectives: good-looking to refer to the reapers, personal pronouns: look you, to avoid repeating the name.
Language: The language, despite its apparent simplicity, is very elaborate. It has a colloquial register.
Style: With respect to style, figures of speech, symbolism (the heat: the erotic effect, the baton: the authority imposed by force, the water: seawater representing free life, standing water representing death), and heckling.
Space and Time: Act 1: summer morning, Act 2: unbearable heat, afternoon, Act 3: accentual erotic tension between the siblings. Night. The mourning of eight years appears to be compressed into a single day. It is a play that continues to use dialogues, speaking of a third person, and the stage directions serve as guides, giving us information that we could only know through the narrator.