b'Luke OliverCould Yerma have been Francos favourite play? Dissertation ExtractLuke OliverWhen we think of adaptation we usually think ofthat there must always be a function for something, in remediation, the changing of a storys medium, fromthis case procreation. Finally, Security: it is through myth to play or novel to film to name a few. The formmarriage that a woman can feel secure. The narrative of of adaptation that this dissertation explored was that ofstable families in which individuals fill their proper roles a play being adapted and translated from one culture tofor the good of the state is a metaphor for the creation another and their joint relationship in creating theatreof powerful nation-states (Carbayo-Abengzar, 2001, p. that transcends linguistic and geographical borders. Could84) and a core aspect of Fascism. It follows then, that by Yerma have been Francos favourite play? highlights theYerma having all three, in a way she has achieved a womans socio-political environment in which Lorca wrote Yermapurpose and therefore, in her mind, deserves the outcome as well as some of the ways in which newer iterationsshe desires, a baby. What she is actually rewarded with is adapted the plays political message. This meant lookingthe reality of how incongruent societal norms are with the at the plays journey from 1930s Andaluca on the verge ofliving body (Nolan 2007: 16). Yerma, then, appears as if it Francoism, through to a version that depicted London circashould be applauded by fascists, for although the character the Brexit vote.is struggling to conceive, she is still going about her duties for the good of the state; thus Nolan argues that Lorcas Yerma tells the tale of a woman who desires nothing moreplay borders on the fascistic (Nolan 2007: 3). However, than to have children, but is unable to have them, as herwhat the play actually reveals through its lack of plot namesake suggests . As alluded to by academics such asdevelopment (No hay argumento en Yerma(McDermid Maria Delgado, Yerma is a story written with the Greek2007: 146)), is the repetitive nature of the fascist machine model of theatre in mind; Lorca interweaves the personaland that as humans are not machines, they will not and the political (2016: 3) in a way that demonstratesnecessarily adhere to what is required of them. Instead, how public ideologies infringe on the private sphere.I would argue, Lorca is commenting that it is through Throughout the 20th century, Spains political landscapeher conformity to fascistic doctrines that Yerma becomes was tumultuous, with swings from far-left to far-righttormented by her inability to have a child, which results resulting in a Civil War that shaped Spains relationship toin her not being able to conform to doctrine at all and she the world for many years as well as splintering the Spanishstops functioning. In spite of her attempts to Save herself public. Yerma appears on the surface to be an endorsementfor the marriage, and her chaste behaviour through the of the ideal fascist woman, but in fact, as a knownengagement, she does not then have a paradisiacal marriage supporter of the Second Republicand a socialist, Lorcasand cannot fulfil her Utility role, which results in her text could be seen as a subversive piece, exploring hownot experiencing Security. In reality, Lorca is taking the Fascist ideologies, evident in the public domain, damagecamera lens on stage and [giving] the audience a close-up Yermas private world.shot of fascisms [damaging] end result (Nolan, 2007, p. 12).In her article on Francos Spain, Carbayo-AbengzarThis notion of the body not conforming is also reflected explains and reduces the Francoist discourse around thewithin Trevis and Stones productions of Yerma, at least to roles women should play within society to three mainsome extent, although not with an emphasis on fascism. areas: Saving, Utility and Security.Saving is theStones adaptation is still an exploration of how the public notion of restraint: by showing restraint you are provingaffects the private. Trevis production similarly follows yourself to be respectful. If you prove your respectfulness,Lorcas political implications in so far as Yerma goes about you will be rewarded through the institution of engagementher duties, washes the clothes, sews and maintains the - that is, the experience of sexuality within the confines ofhome. In Trevis production, when Yerma goes to seek a paradisiacal marriage (Carbayo-Abengzar, 2001: 84).the advice of the Pagan Woman and the Elder Women in The concept of Utility restricts Saving, however, inthe village she is subtle about sneaking out of the house to 33'