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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They are in fact pathetic little nobodies who have 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. What makes them each others’ double is their fear -of the world, of one another and principally, of themselves.

Firstly, it serves as retrospective exposition and provides much background information to the dramatic action. We’re featuring millions of their reader ratings on our book pages to boche you find your new favourite book. Lalo is nearly ecstatic, as he falls to his knees, rolling his eyes and pounding his chest. In Modern Drama 15, pp. This ritual structure has three integrated functions.

No quieres que la gente se entere de la verdad. The New Latin American Theater, eds. Se me ponen los pelos de punta.

Visor de obras.

Te odio, te odio, te odio. This is not to say, however, that La noche de los asesinos is essentially a psychological drama.

La obra obtuvo un exito internacional considerable, posiblemente debido a que los temas que trata son universales: 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. 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.


As mentioned earlier, Triana’s play is exemplary of nonillusionistic, presentational theatre and the playscript can be best understood by considering the patterns and associations it develops through its numerous ritual repetitions and mirroring effects.

Entry written by Gwendolen Mackeith. Triana indicates that the play’s action can take place either in a garret or a basement, both being places that are separated from the rest of a house.

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. Cuca mockingly rejects Lalo’s plea and demands that their play go on as before.

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:. That is to say, its final form and import are not perceived until the performance is over.

Noche de Los Asesinos : Jose Triana :

The ambivalence in the dramatic dialogue throughout the play highlights this fact. The play-within-a-play serves as a subterfuge to obstruct rather than enhance communication between the characters.

These theatrical signs come to be and are significant josse of what and how the text means; they do not work against the playscript, but rather with it. The conventional division between audience and actors could emphasize the ironic nature of the characters’ games, which do not share the traditional ends of ritual, but just the opposite. We are suspicious of Lalo and even more so when he asks us, as Peeping Toms, to see what is not there.

Noche de Los Asesinos

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. When Beba asks Cuca: If necessary, the text can be read numerous times, an opportunity not afforded to the viewing public. Darse cuenta al final [ All three works are plays-within-plays that touch on the subject of insurrection and show the dichotomy between the domineering and the domineered.


The use of the much maligned proscenium stage in this case might well be appropriate to further enhance the connotative level of the setting When Beba speaks, furthermore, we also realize that she too would have us see what does not exist, thus making us recognize from the outset that none of the characters on stage is to be completely trusted or believed.

Thus a new hierarchy is being established where it is children, not parents, who are at the helm. Description La noche de los asesinos, del cubano Jose de Triana, obtuvo el Premio Casa de las 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.

Check out the top books of the year on our page Best Books of Hence, the necessity of treating these component parts individually and then collectively. As Cuca and Lalo continue to dominate the stage, the following verbal confrontation ensues:. That is to say, the three rebels are as brutal as their parents and once in power, they would behave no differently 9. The girls’ reaction of indifference quickly undermine’s Lalo’s posture.