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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Lalo’s domination of the games and Cuca’s opposition. We also note asessinos Lalo’s command to close the door is not heeded, as the door is already closed.
The New Latin American Theater, eds. In Modern Drama 15, pp. The ambivalence in the dramatic dialogue throughout the play highlights this fact.
Se golpea el pecho exaltado. However, a parallel conflict runs throughout the play’s over-all design, in which the Mother is identified with order and the Father with disorder. The published playscript, however, is a special kind of book that has not been written so much for a reading public as for an audience al theatregoers 2.
Se me ponen los pelos de punta. According to the reading of La noche de los asesinos outlined in this study, these choices could be guided by the following elements which help to define the play’s substance: Although Lalo holds a privileged position on stage, his sisters continue to pay little attention to him.
Lalo must sign a confession of his guilt. As in the drama of Pirandello, Genet and Weiss, it underscores the very tenuous boundaries between reality and illusion.
Noche de Los Asesinos : Jose Triana :
Lalo’s reference to a murderer may conjure up images of lethal weapons, but these will be shattered instantly by the reality of the cleaning rag and feather duster which Beba and Cuca, respectively, hold in their hands.
We learn that they are play-acting, that their representation concerns a murder and that this is not the first time they have engaged in such activities. At times, the tension in the aessinos becomes so intolerable that one of the three is unable to bear it and comes out of character, but the boundary between fantasy ls reality becomes increasingly thin, as the play gathers momentum and the pressure on Lalo to kill his parents mounts.
The distinction between the principal characters and the parts they assume is not meant to be well-defined but rather to have the same vertiginous mirroring effect of the play’s structure. Cuca wants to tidy up, to create some semblance of the order that her absent parents stand for but Lalo reacts violently, not wanting anything to be moved.
In Dramatists in Revolt: No loss is made to make this seem a natural, realistic situation. Rather than participating in a ritual, in its truest sense, their games are a habit or a routine that allow them an emotional escape Arte y Arquitectura del Islam Jonathan Bloom.
Tienes miedo de llegar al final. The play has been read by critics as both a call to revolution as well as an anti-Castro allegory, marking the complexity of its dimensions.
Noche de Los Asesinos Jose Triana. Lalo is nearly ecstatic, as he falls to his knees, rolling his eyes and pounding his chest.
As a play-within-a-play, furthermore, La noche de los asesinos is a refracted miniature of itself, in which actors enact the roles of characters who in nochhe are themselves actors. As Cuca and Lalo continue to dominate the stage, the following verbal confrontation ensues:. For traina, the characters’ repressive childhood and their parents’ thirty years of matrimonial failure are encapsulated in the brief and often repeated scenes of the play-within-a-play.
The three characters’ autocratic ways would thus become a factor of subsidiary importance While there are only ever three actors on stage, Lalo, Cuca and Beba play an extensive repertoire of other characters, including their own parents. Therefore, until the characters purge themselves of their own crippling fears, whatever love or nocne could or does unite this family will be aborted by their self-deluding and onanistic game. The actors on stage, pretending to be nothing other than actors, frozen in their positions as they wait for the performance to begin, the way that the performance does begin, with Lalo’s histrionics se his sisters’ indifferent reaction to him, are key signs that prepare the audience for the non-realistic nature of the play.
Although this exchange makes known the parents’ miserable relationship, loos 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. His histrionic pose and pontifical tone are quickly undercut by the girls’ reaction of boredom and disgust.
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 josd any differences, but of a haunting sameness aasesinos the three characters and the roles they assume. We’re featuring millions of their reader ratings on our book pages to help you find your new favourite book. We are thus put on guard and begin triaja wonder what is really happening. It is full of disorder and decay: These young adults, who have about them an air of withered adolescence, enact the brutal knife-killing of their parents, as well as the sensational press coverage and police investigation of the heinous crime and finally, Lalo’s arrest and trial.
You must be logged in to post a comment. The play-within-a-play serves as a subterfuge to obstruct rather than enhance communication between the characters. 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.
Amidst childish scraps in which they play themselves, the three enact a court scene and take full advantage of the theatrical potential of this imagined scenario. This ritual structure has three integrated functions. A significant pattern is emerging, one rriana makes noch doubt the characters’ perception of the boundaries between the make-believe and the real.
Description La noche de los asesinos, del cubano Jose de Triana, obtuvo el Premio Casa de noch 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.
José Triana (Author of La noche de los asesinos)
The readers hold in their hands the blueprint of a complex, four-dimensional art form; the audience shares the end-product of a collaborative effort which transforms that blueprint into the total theatre event.
That is to say, its final form and import are not perceived until the performance is over. Cuca-as-Prosecuting Jise accuses Lalo of subverting order. Other books in this series.
Cuban Theater Digital Archive
This is not our purpose here, but rather, to first establish what the text’s unifying substance might be and then, to suggest some possible ways in which that substance could be conveyed and enriched in an imaginary staging of the play’s opening scenes. 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, asesinoss is not the case.
The girls’ reaction of indifference quickly undermine’s Lalo’s posture.
La obra obtuvo un exito internacional considerable, posiblemente debido a que los temas que trata son universales: Although they are part of a structure of theatrical signs, they are not born independently of the written, symbolic code of signs which is the text.