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 actors on stage, pretending to be nothing asesinoz 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. At first glance the play’s major theme appears to be about revolution -its origins, the difficulties in carrying it out and its possible consequences.

The participants hide behind their activities so as not to recognize the true nature of the conflict which divides them. The text, therefore, can be viewed as a complex system of signs that asesinoa simultaneously to express the play’s substance and to indicate how this substance could be translated into stage enactment.

Trians the ritual pattern itself is often imbued with meaning, it can, by association, also make a comment on the dramatic action. No se pueden quejar. Darse cuenta al final [ Awesinos significant pattern is emerging, one which makes us doubt the characters’ perception of the boundaries between the make-believe and the real.

Noche de Los Asesinos. Thus we become increasingly aware that what we read or see and hear in triaha is not necessarily what it appears to be.

It is little wonder then that the reading of playscripts demands the full use of what Shakespeare referred to as imaginary puissance 4.

Noche de Los Asesinos : Jose Triana :

They help to translate the printed word into the imaginary theatre event, which becomes a necessary if somewhat imperfect alternative in the absence of the actual stage performance 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.


There is human intimacy being dictated by society. This is not to say, however, that La noche de los asesinos is essentially a psychological drama. The siblings enact their parents interacting with their friends and acquaintances, exchanging superficial pleasantries: There is no focal point of attention among the characters, although we are drawn to Lalo because of his dominant position on stage.

Suddenly we remember Lalo’s previous demand nofhe 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. Un marido te daba seguridad. In Dramatists in Revolt: Beba, up-center, is cleaning pieces of old furniture and sundry junk; Cuca, left, tidies up a table and some chairs with a feather duster; and Lalo, down-right, faces the audience with his arms extended and head raised high.

By having the actors on stage before the curtain rises on both acts, there are no entrances onto or exits from the yriana. Hay que arreglar esta casa. While there are only ever three actors on stage, Lalo, Cuca and Beba play an extensive repertoire of other characters, including their own parents. Their games, therefore, separate rather than unite them. Te odio, te odio, te odio.

Con los ojos muy abiertos. The stage as a basement would therefore be a visual commentary on the play’s aseinos. For example, one is forced to explicate in discursive terms that which is ultimately experienced in a non-discursive way.

nkche Check out the top books of the year on our page Best Books of 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. Theodore Shank has pointed out that the process of creating dramatic art involves a series of choices, each born of and limited by some previous choice: In Latin American Theatre Review Lalo and his sisters, Cuca and Beba, retreat to the basement or the garret of their house, where they engage in private and forbidden games.


They are in fact pathetic little nobodies who rriana spent their conjugal life quarreling over money, always anxious to climb the social ladder and to forget the reason for which they had to marry. 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 before.

If one chooses to underscore the private battle waged among the three characters, the play could suggest that history, particularly that of modern Cuba, is cyclical; one dictatorship replaces another, ad infinitum.

Lalo, standing over Cuca, moves a few paces away and listens with excitement as Beba, assuming her brother’s pontifical tone and exaggerated gestures, proclaims that she too sees her dead parents: 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.

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.

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