Truth, Violence, and Domestic Space: Contesting Patriarchal Ontology in José Triana’s La noche de los asesinos and Ariel Dorfman’s La muerte y la doncella. Obra teatral, “LA NOCHE DE LOS ASESINOS” de José Triana. Public. · Hosted by Lila Grupo de Teatro. Interested. clock. Friday, May 10, at PM UTC- . La Noche De Los Asesinos [Jose Triana] on *FREE* shipping on qualifying offers.
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The proscenium stage, moreover, makes voyeurs of the audience, an effect that the play seems to ask for, as there are various instances when the characters direct themselves to the audience, but only as an invitation to observe their play-acting. Yet when their words hit too close to home, as it were, Cuca rebels aessinos steps out of her role.
Everything in the opening scenes works together to provide the audience with the signs necessary to orient it.
Al fin descubro que me odias. Yet again, what we see and hear on stage is vital to our comprehension of the import of this information. We see them instead as actors on asesunos stage who will begin performing for us as lis as the so-called kose wall is made invisible.
Tienes miedo de llegar al final. Yet the readers’ experience is somehow incomplete and should be supplemented by an imaginary staging of the text. Hemos llenado la sala de gladiolos. Beba and Cuca then play police officers who come to investigate the murders. This framework or structure helps to communicate the unifying idea of a dramatic text, as is the case with La noche de los asesinoswhere substance is nnoche conveyed by the way in which the dramatic action is made to happen.
There are, however, certain difficulties inherent in such an approach. Although this exchange makes known the parents’ miserable relationship, it also shows that behind the verbal smokescreen of their role-playing, Lalo and Cuca are referring to each other and express, albeit indirectly, what they really feel. These games do not represent a shared feeling of communion or belief, and although the children attribute to them the power ultimately to change or alter existing conditions, such is not the case.
For example, the characters’ repressive childhood and their parents’ thirty years of matrimonial failure are encapsulated in the brief and tdiana repeated scenes of the play-within-a-play. Lalo seems to realize this when he says: Entry written by Gwendolen Mackeith. Despues de muertos los hemos complacido.
José Triana (Author of La noche de los asesinos)
Their failures and frustrations are diffused into kose abuse they heap on each other and on their children. In Modern Drama 15, pp. As the play’s structure etches a reiterative pattern that reveals the children to be indistinguishable from their parents, the coco or bugabear then becomes each and all of them.
As mentioned earlier, Triana’s play is exemplary of nonillusionistic, presentational theatre and the playscript can be best understood by considering the patterns and associations it develops through its numerous ritual repetitions and mirroring effects.
Le nnoche la barbilla con gesto pueril.
The first and second acts are variations on the same situation and the play as a whole is the repetition of something that has happened many times aeesinos. While we see and hear Beba, we are reminded of Lalo and as the dramatic action develops, we will become more and more aware not of any differences, but joes a haunting sameness in the three characters and the roles they assume. The ambivalence in the dramatic dialogue throughout the play highlights npche fact.
When Beba speaks, furthermore, we also realize that she asesjnos would have us see what does not exist, thus making us recognize from the outset that none of the characters on stage is to be completely trusted or believed. While recognizing that these individual sign systems are structures within a total, integrated structure, the following imaginative staging of the first pages of Triana’s text will concentrate mainly on the ways in which the setting and the dramatic dialogue combine with certain kinesic and proxemic aspects to help convey the playscript’s central image.
The theatregoer’s perception and understanding of a play comes from the way in which the diverse elements of the performance are orchestrated, in time and assesinos, to produce a desired effect. After years of matrimonial hell, they confess their ferocious hatred for each other:. You must be logged in to add tags.
Noche de Los Asesinos
For example, in the last pages of the text Cuca- Madre and Lalo-Father confront each other in what could be called a final showdown. Triana indicates that the play’s action can take place either in a garret or a basement, both being places that are separated from the rest of a house. In a whirligig of role-playing, the cast of three multiplies itself, as the siblings assume the parts of their parents, their neighbors, some newspaper vendors, the police, and the judge and prosecuting attorney at Lalo’s trial.
Suddenly we remember Lalo’s previous demand that the door be closed, and we begin to understand that an integral part of the play concerns the boundaries between the virtual and the real, between dramatic illusion and its reference.
Imaginary guests begin to arrive: La noche de los asesinso is a complex work, by no means clear in its first reading. At times, the tension in the game becomes so intolerable that one of the three is unable to bear it and comes out of character, but the boundary between fantasy and reality becomes increasingly thin, as the play gathers momentum and the pressure on Lalo to kill his parents mounts. The text, therefore, can be viewed as a complex system of signs that functions simultaneously to express the play’s substance and to indicate how this substance could be translated into stage enactment.
Check out the top books of the year on our page Best Books of Noche de Los Asesinos Jose Triana. This same structure, however, can have exactly the opposite purpose and effect, especially when framed in a play-within-a-play.
Lalo’s domination of the games and Cuca’s opposition. These two warring sides are clearly defined from the beginning lls the play and are in constant confrontation.
Visor de obras.
Un marido te daba seguridad. In the readers’ case, the script substitutes for the performance and is the primary means of grasping a play’s essence. This ritual structure has three integrated functions. As the curtain rises, we can imagine the three characters already on stage, frozen in their positions. Consequently, the noble and courageous connotations attributed to the characters’ activities would seem to be highly ironic. La noche de los asesinos is much more than a play about dictatorial parents and their rebellious offspring.
Throughout the rest of the performed play, the repetitions, variations and refractions of the signs defining these first scenes will help to build the play’s suspense of form, and will reinforce, rather than modify, the import of these signs. If necessary, the text can be read numerous times, an opportunity not afforded to the viewing public. Cuca speaks of their parents as being alive and registers no surprise when Lalo claims to have killed them.
Woven into the fabric of Triana’s play is an intricate design of mirror reflections, which produces a deliberate confusion between the illusory and the real.
Description La noche de los asesinos, del cubano Jose de Triana, obtuvo el Premio Casa de las Americas ense estreno en Cuba en y en el equipo del estreno emprende con ella una gira por Europa con representaciones en Paris, en el Festival de Avinon, en Londres y en varias ciudades italianas. There are no caskets, no tapers and gladioli on stage.