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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For example, one is forced to explicate in discursive terms that which is ultimately experienced in a non-discursive way.
Triana’s stage directions call for very few props: 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. We are provided with more information, as we come to know that the murder is associated with their parents, from whom the characters feel alienated, and that there are conflicts among the children themselves, especially between Cuca and Lalo.
The girls’ reaction of indifference quickly undermine’s Lalo’s posture. While there are only ever three actors on stage, Lalo, Cuca and Beba play an extensive repertoire of other characters, including their own parents.
Our attention rapidly focuses on the stage setting itself and on the three figures widely spaced in a slightly distorted triangle.
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Finally, to attempt the complete translation of a text into stage enactment would mean assuming the role and tasks of everyone involved in the collaborative venture that ends in an actual performance.
Thus a new hierarchy is being established where it is children, not parents, who are at the helm. After years of matrimonial hell, they confess their ferocious hatred for each other:.
Nunca me he sentido tan dichosa.
La noche de los asesinos – Out of the Wings
There is no focal point of attention among the qsesinos, although we are drawn to Lalo because of his dominant position on stage. Beba and Cuca then play police officers who come to investigate the murders. At one point Cuca asks Lalo: Estamos discutiendo otra cosa. It would denote place, but far more importantly, it would connote alienation, entrapment, and fear, while setting the appropriate mood. As the curtain rises, we can imagine the three characters already on stage, frozen in their positions.
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 loa children. 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: Despues de muertos los hemos complacido.
There is hatred in this play, from the fruits of a loveless marriage. However, a parallel conflict runs throughout the play’s over-all design, in which the Mother is oos with order and the Father with disorder.
As he gravely pronounces the nochr asesinothey continue their cleaning chores. Vuelve a poner el cenicero en su sitio. An important attitude has been established in the audience, who will begin to question the children’s motives and the real meaning of their demonic games.
Y he cavado con estas manos un hueco bien profundo. Because in spite of everything, I love them.
José Triana (Author of La noche de los asesinos)
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. We are suspicious of Lalo and even more so when he asks us, as Peeping Toms, to see what is not there. What it does underscore is that the children’s games, while ritualistic in their structure, are not so in their content or purpose.
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 and his sisters’ indifferent reaction to him, are key signs that prepare the audience for the non-realistic nature of the play.
Missing then is the logical cause-and-effect chain of events nocye characteristic of the well-made play in formal realism. Last updated on 5 October As in the drama of Pirandello, Genet and Weiss, it underscores the very tenuous boundaries between reality and illusion.
From the moment that Asesihos I begins, most of those elements seminal to the play’s substance are orchestrated so as to produce a unified impression, which helps to orient the reader or the theatre public. Dispatched from the UK in 3 business days When will my order arrive?
Visor de obras.
When Beba asks Cuca: 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. The ambivalence in the dramatic dialogue throughout the play highlights this fact. 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.
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. Hemos llenado la sala de d. Cuca mockingly rejects Lalo’s plea and demands that their play go on as before. Darse cuenta al final [ Westport, CT, Greenwood Press.
However, we are quick to perceive this lack of cohesiveness, as well as the incongruity and contradictions in the characters’ gestures, poses and tone of voice.