9 FEB – 31 MAR 2024
Tuesday to Sunday at 20:00
Meeting with the artistic team: 14 MAR 2024 Accessible performances: 7 and 8 MAR 2024 Matinee: 19 MAR 2024 at 12:00
FIRST WEEK DISCOUNT(50% discount): Tuesday 13 and Thursday 15 FEB
Please arrive well in advance as the auditorium will be closed once the performance has begun.
To collect tickets, our box offices will be open from Monday to Sunday from 2.30pm to 8.30pm.
Federico García Lorca
Alfredo Sanzol
Eva Carrera, Montse Díez, Ane Gabarain, Claudia Galán, Belén Landaluñe, Patricia López Arnaiz, Inma Nieto, Sara Robisco, Ana Wagener and others to be confirmed
Blanca Añón
Pedro Yagüe
Vanessa Actif
Fernando Velázquez
Sandra Vicente
Amaya Galeote
Chema Noci
Director’s Note
La casa de Bernarda Alba begins with one death and ends with another. The death of the father gives rise to the despotic reign of Bernarda, which ultimately leads to the death of her youngest daughter, a symbol of life, freedom and sexuality. Bernarda is the embodiment of a system of social standards. She is its enforcer and its victim. Bernarda’s humanity lies in her duty to protect her daughters from the ruin that sexual impulses can produce in the social context they inhabit. Fear of ostracism leads her to apply the same paranoid restrictions that have been placed on her since childhood. Bernarda was also an Adela. She is a dead Adela that lives. She is a woman so badly wounded that she could only find salvation by taking over from her attackers. Bernarda and her house are a metaphor for a society in terror.
La casa de Bernarda Alba could be told from Bernarda’s point of view as the story of a woman who wanted the best for her daughters. A pragmatic, realistic mother, who knew the world in which she lived and who did not hesitate to use all her energy to curb the anarchic impulses of the sexual instinct. A woman who was aware of the harshness of social norms and the dogmatic judgement of her neighbours.
From Adela’s point of view, La casa de Bernarda Alba could be told as a nightmare in which a paranoid, dehumanised, sociopathic mother locks her daughters in an absurd eight-year mourning period that could end the lives of all of them. It is common to hear that everyone agrees with Adela’s position, but how can this be, if the sexist violence suffered by women in Bernarda’s house is the same as the sexist violence suffered by women today in our times? To what extent do we not all live in a house in which there are more Bernardas and Bernardos than we think?
Alfredo Sanzol
Federico García Lorca
Alfredo Sanzol
Eva Carrera, Montse Díez, Ane Gabarain, Claudia Galán, Belén Landaluñe, Patricia López Arnaiz, Inma Nieto, Sara Robisco, Ana Wagener and others to be confirmed
Blanca Añón
Pedro Yagüe
Vanessa Actif
Fernando Velázquez
Sandra Vicente
Amaya Galeote
Chema Noci
Playwright and theatre director with a degree in Law from the University of Navarra and in Stage Direction from the RESAD. His work is characterised by its humour, the stylistic inventiveness with which it examines issues relating to his personal experiences and circumstances, and by his commitment to research into new dramatic structures. With a profound knowledge of theatrical craft, throughout his career he has alternated directing his own texts with adaptations of repertory plays.
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With a career that began more than twenty years ago with Steven Berkoff’s Greek (1999), a new phase in his career opened with his role as director of the Centro Dramático Nacional in January 2020. Many of his works have premiered in INAEM venues, including the Centro Dramático Nacional, the Compañía Nacional de Teatro Clásico, and the Teatro de la Zarzuela. He has written and directed stage productions such as Risas y Destrucción (2007), Sí, pero no lo soy (2008), Delicadas (2010), Días estupendos (2010), En la luna (2011), Aventura! (2012), La calma mágica (2014), La valentía (2018), and others he has adapted and directed, including La cabeza del Bautista (2009), Esperando a Godot (2013), Luces de bohemia (2018), La dama boba (2017) and El barberillo de Lavapiés (2019).
As director of the Centro Dramático Nacional he has premiered Macbeth (2020), El bar que se tragó a todos los españoles (2021), and El Golem (2022).
Sanzol won the National Dramatic Literature Prize in 2016 for his play La respiración and the 12th Valle-Inclán Theatre Prize in 2017 for La ternura. He has been distinguished with the Theatre Award of the Community of Madrid and with an Honour from the Government of Navarre for his professional career. He has won eight Max Awards for the Performing Arts, including five as Best Author and three for Best Show.
© Barbara Sánchez Palomero
