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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If necessary, the text dee be read numerous times, an opportunity not afforded to the viewing public. The girls’ reaction of indifference quickly undermine’s Lalo’s posture. It would denote place, but far more importantly, it would connote alienation, entrapment, and fear, while setting the appropriate mood.
Cuban Theater Digital Archive
This same structure, however, can have exactly the opposite purpose and effect, especially when framed in a play-within-a-play. Nunca me he sentido tan dichosa. This is not our purpose here, but rather, to first establish what the text’s unifying substance might be and then, al suggest some possible ways in which that substance could be conveyed and oa in an imaginary staging of the play’s opening scenes. The three characters’ autocratic ways would thus become a factor of subsidiary importance Although they trinaa part of a structure of theatrical signs, they are not born independently of the written, symbolic code of signs which is the text.
The two acts together outline a more general ritualistic design; but the second act is also a variation on the first and constitutes yet another ritual repetition, as illustrated by the following summary:.
José Triana (Author of La noche de los asesinos)
At the beginning of this ritualised game, Lalo tells us he has murdered their parents. These are controlling parents who snobbishly put emphasis on social status; they place a burden of expectation on their children to compensate them for their unhappy marriage and unfulfilled lives which they claim to have sacrificed in the interests of their children.
Therefore, until the characters purge themselves of their asesihos crippling fears, whatever love or affection could or does unite this family will be aborted by their self-deluding and onanistic game.
An analysis of the playscript thus leads to other choices based on the interpretation of its unifying dramatic image. The two acts which comprise La noche de los asesinostherefore, are seemingly a preparatory rite, doomed to be repeated again and again, until the children can finally consummate their criminal act. The claustrophobic feeling that this produces further underscores the setting’s symbolic value, trina the references to opening and closing the door take on an added significance, reminiscent of Sartre’s Huis-Clos.
Is this a fantasy, a rehearsal or the re-enactment of what has already taken place? Dispatched from the UK in 3 business days When will my order arrive?
We also note that Lalo’s command to close the door is not heeded, as the door is already closed. Although Lalo holds a privileged position on stage, his sisters continue to pay little attention to him.
Styan has stated that plays are meant to be seen and not read, which is not to kos that they cannot or should not be read 1. Aaesinos 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. The play’s dramatic action introduces us into the claustrophobic and demonic world of children obsessed with a need to murder their parents.
As he gravely pronounces the word asesinothey continue their cleaning chores. Imaginary guests begin to arrive: These theatrical signs come to be and are significant because of what and how the text means; they do not work against the playscript, but rather with it.
Lo importante era tenerlo. 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.
For example, one is forced to explicate in discursive terms that which is ultimately experienced in a non-discursive way. Austin, University of Texas Press. 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. There is hatred in this play, from the fruits of a loveless marriage.
Cuban Theater Digital Archive
Lalo, Cuca, and Beba seem unable to transform their play-acting into reality, caught as they are in a web of mutual and self-hatred as all-consuming as the hatred they feel for their parents. 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. The New Latin American Theater, eds. Our attention rapidly focuses on the stage setting itself and on the three figures widely spaced in a slightly distorted triangle.
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.