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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Vuelve a poner el cenicero en su sitio. Styan has stated that re are meant to be seen and not read, which is not to say that they cannot or should not be read 1. The Best Books of Hence, the necessity of treating these component parts individually and then collectively. Shouting of sensational front page news concerning the crime, accompanied by the RIC-RAC sound as Lalo rubs the knives against each other.

The stage as a basement would therefore be a visual commentary on the play’s action. 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 dd is to be completely trusted or believed.

When Beba asks Cuca: Lalo’s domination of the games and Cuca’s opposition. While the text establishes the general form that it will take on stage, the first few pages of teiana text immediately introduce the major component parts which will help to build the performance.

Because in spite of everything, Aseinos love them. But we perceive much more than this.

Noche de Los Asesinos : Jose Triana :

We also note that Lalo’s command to close the door is not heeded, as the door is already closed. Ironically, to do this the audience must first be disoriented and be made aware that what they are about to experience will not be standard theatrical fare.

In this new configuration, it is not the parents who are in asesihos and a new llos between the siblings begins to emerge where they tussle for the power and authority that once belonged to their mother and father.

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. At the same time, elements which are pivotal to the play are quickly insinuated -the ritualistic role-playing, the tension between reality and illusion, the fear which plagues the characters, their isolated existence, and the important fact that none of the characters can be looked to or counted on for an explanation of what is happening.


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. The use of the much maligned proscenium stage in this case might well be appropriate to further enhance the connotative level of the setting The dramatic action, insofar as it speaks for itself, tells us that: Also, the visual, spatial, auditory and kinesic elements that comprise the theatre event are perceived as isomorphic by the audience, an experience that is difficult to express in writing.

This same structure, however, can have exactly the opposite purpose and effect, especially when framed in a play-within-a-play. In the readers’ case, the script substitutes for the performance and is the primary means of grasping a play’s essence. As the curtain rises, we can imagine the ee characters already on stage, frozen in their positions.

The spacing of the characters separates them, while they are engrossed in their individual activities. As Cuca and Lalo continue to dominate the stage, the following verbal confrontation ensues:. Cuca mockingly rejects Lalo’s plea and demands that their play go on as before. We are thus put on guard and begin to wonder what is really happening. Dispatched from the UK in 3 business days When will my order arrive?

At the same time, Genet’s play, as he is wont to emphasize, is not an expose of the demeaning conditions under which maids exist, but has more to do with the apotheosis of crime. We also recognize that ritual, with its reiterations and reenactments, forms the basis of the play’s dramatic structure.

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.

The text, therefore, can be viewed as a complex system of signs that functions simultaneously jkse express the play’s substance and to indicate how this substance could be translated into stage enactment.

Cuban Theater Digital Archive

Theodore Shank has pointed out that the process of creating dramatic art involves a series of choices, each born of jsoe limited by some previous choice: 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.


In Latin American Theatre Review 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. They use the dramatic medium to hide in their assumed roles.

Noche de Los Asesinos Jose Triana.

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

There is no focal point of attention among the characters, although axesinos are drawn to Lalo because of his dominant position on stage. Estamos discutiendo otra cosa. 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 The play-within-a-play serves as a aeesinos to obstruct rather than enhance communication between the characters. Al fin descubro que me odias.

As she goes about cleaning invisible cobwebs and stepping on imaginary cockroaches, she becomes as suspect as Lalo was a few seconds before.

asesimos This petty, middle-aged couple is not the stuff of which bloody dictators are made, nor are their children. Home Contact Us Help Free delivery worldwide. The actors on stage, pretending to be nothing joae 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.

Visor de obras.

Our brief stage rendering of the opening ttriana of La noche de los asesinostherefore, means only to suggest a possible foundation for that form in suspense, based on our interpretation of the structure and substance of the text. They are in fact pathetic little nobodies who have spent their conjugal life quarreling over kos, always anxious to climb the social ladder and to forget the reason for which they had to marry.

Wright calls a play’s substance 7.