Federico Garcia Lorca's autobiographical play, Once Five Years Pass deals directly with the discovery of his homosexual identity. While themes of sterility, desire, repression and death are central to this work, these themes are masked by the surrealistic language and plasticity that characterized his experimental theatre. Later, in his more traditional rural plays, Blood Wedding, Yerma, and The House of Bernarda Alba, Lorca sought to examine, at a safer distance, the themes elaborated in Once Five Years Pass. To this end, he removed himself from the center of the drama, creating a series of rural plays featuring women as the protagonists. An examination of the symbolic content in Blood Wedding, Yerma and The House of Bernarda Alba, which is more accessible in these traditionally structured works, supplies the key to the interpretation of Lorca's unperformable play.
The Author: Beth Wellington is an assistant professor of Spanish at Simmons College in Boston, Massachusetts. She received her Ph.D. in Hispanic Language and Literature from Boston University and holds a Master of Arts degree with a specialization in Latin American Studies from The Johns Hopkins University School of Advanced International Studies. Before entering the field of university teaching, she worked for the United Nations Food and Agriculture Organization in Rome. Her experience in the teaching of foreign languages is extensive and includes positions at Dartmouth, Harvard, Northeastern, and Boston University. Presently, Dr. Wellington teaches Spanish Peninsular Literature and Spanish and Italian languge courses at Simmons College.