The second play of the great Lorca’s trilogy about life at country side, Yerma, represents thick mixture of contrasting moods that Lorca uses to portray the obsession of one young rural futile woman, an obsession that becomes stronger and stronger, and he investigates the places of human desires and fears. The writher uses a plentitude of means of expression, strong combina-tion of verbal, visual and sound images and rhythms as a device for celebrating the sexual attraction and fertility, the creation and the conception. Throughout the characte-rization of the central protagonist of the play, Lorca sets the question of the female social status, question that was controversial in his time, as it is today.

Yerma, who lives in one isolated village in Spain, yearns for child, but cannot conceive. This strong, primordial story of a woman’s longing for a child, dips into some of the most universal topics that theatre deals with: love, passion, sensuality and marriage.