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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Un marido te daba seguridad. He insists the ashtray must be on the chair, and not the table, and the vase should be on the floor.

José Triana (Author of La noche de los asesinos)

Rather than participating in a ritual, in its truest sense, their games are a habit or a routine that allow them an emotional escape 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.

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: It would trianaa place, but far more importantly, it would connote alienation, entrapment, and fear, while setting the appropriate mood. Hence, Charles Morgan has spoken of the form in suspense of dramatic performances, which is organic and controlled by the exigencies and nature of a particular play Yet the readers’ experience is somehow incomplete and should be supplemented tirana an imaginary staging of the text.

There are no caskets, no tapers and gladioli on stage. The stage as a basement would therefore be a visual commentary on the play’s action. We also recognize that ritual, with its reiterations and reenactments, forms the basis of the play’s dramatic structure.

This ritual structure has three integrated nochs. As in much contemporary drama, substance in La noche de los asesinos is not explicit and an analysis of its dramatic action can yield only a partial understanding of the text. The parents scold Lalo, haranguing him for being a slob, a thief and a swine.


Obra teatral, “LA NOCHE DE LOS ASESINOS” de José Triana.

We also begin to understand the nature of the conflict between Lalo and Cuca, which pits her mania for order against his determination to subvert it. By the same token, the parents are too ordinary and mundane, their power too fragile to merit the exorcism elaborated by their progeny. Cuca’s domination of the games and Lalo’s growing opposition. Our attention rapidly focuses on the stage setting itself and on the three figures widely spaced in a slightly distorted triangle. The cellar, the dark entity of the houseis associated with madness, crime and the mysterious, as noted by Gaston Bachelard: This same structure, however, can have exactly the opposite purpose and effect, especially when framed in a play-within-a-play.

Vuelve a poner el cenicero en su sitio.

When Beba asks Cuca: They have transgressed the boundaries of their make-believe world and are perilously close to admitting openly la verdad to which Lalo-Padre alludes. By using our website you agree to our use of cookies. The participants hide behind their activities so as not to recognize the true nature of the conflict which divides them.

Lalo must sign a confession of his guilt. Thus we become increasingly aware that what we read or see and hear in performance is not necessarily what it appears to be. Yet when their words hit too close to home, as it were, Cuca rebels and steps out of her role.

As she goes about cleaning invisible cobwebs and stepping on imaginary cockroaches, she becomes as suspect as Lalo was a few seconds tiana. 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. At one point Cuca asks Lalo: While the text establishes the general form that it will take on stage, the first few pages of the text immediately introduce axesinos major component parts which will help to build the performance.


In Dramatists in Revolt: It is considered to be both a classic and a masterpiece in the corpus of theatre written in Spanish. Visit of the imaginary police, Cuco de Tal and Bebo Mascual. 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.

Se me ponen los pelos de asesimos. Lalo’s domination of the games and Cuca’s opposition. La obra obtuvo un exito internacional considerable, posiblemente debido a que los temas que trata son universales: We also note that Lalo’s command to close the door is not heeded, as the door is already closed.

Goodreads is the world’s largest site for readers with over 50 million reviews. It is in the latter context that the structure of La noche de los asesinos fulfills its third function and tells us something about the play’s total substance. Cuca mockingly rejects Lalo’s plea and demands that their play go on as before.

This is a disturbing and anarchic parentless world, where fantasy feels uncomfortably close to what is real.

Home Contact Us Help Free delivery worldwide. We are thus put on guard and begin to wonder what is really happening.

Cuban Theater Digital Archive

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. Because in spite of everything, I love them. Everything in the opening scenes works together to provide the audience with the signs necessary to orient it.