Be quiet! “In eight years of mourning, the wind from the street will not enter this house.” Bernarda’s five daughters went through a rigorous, suffocating and repressive mourning, during their suffocating confinement exposed to religious fanaticism.
La casa de Bernarda Alba, a work by Federico García Lorca written in 1936 and presented nine years later in Buenos Aires, Argentina, shows the depths of Spain at the beginning of the 20th century; This theatrical drama reflects the sexism in the society of the time and the value of appearances. It also handles concepts such as freedom and domination.
This play returns to Cuban stages every weekend in February, performed by the CLAU theater company, under the direction of Carlos Aguiar; in the Tito Junco room of the Bertolt Brecht Cultural Center. A staging of almost two hours, presents a different reading of the classic work and achieves, through static bodies, that the characters resemble dolls.
The playwright Carlos Aguiar brings together a cast of renowned actresses and young promises to achieve a creative proposal, this novel adaptation was already presented in Bogotá in 2018, with Colombian actresses; however, Aguiar, in an interview for the newspaper Juventud Rebelde, assured that this stage proposal is very different from the previous one.
Each character is presented by two actresses who rotate during the presentations, the figures Yailin Coppola and Yordanka Ariosa interpret Bernarda Alba; followed by talented young women who assumed the roles of the daughters, all meet the requirements of both the role and the staging.
The CLAU theater company, founded in 2006 in Barcelona, has presented plays inspired by the Soviet poet Vladímir Mayakovski since its inception. Today they are presenting an adaptation of the play by the poet and playwright Federico García Lorca, which has been well received by of the Cuban public, manifested in social networks.
“Silence, silence, I said, silence!” At this moment I closed my eyes and imagined the theater full, making a dramatic, resounding, universal silence. It was an end of tragedy, an end for the theater, an end of silence in the name of all human tragedies. That’s how I lived it, and just to achieve that end in a play, in the theater, it was worth trying, said the play’s director, Carlos Aguiar.
