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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Although this exchange makes known the parents’ miserable relationship, it also shows that behind the verbal smokescreen of their role-playing, Lalo and Cuca are referring to each other and express, albeit indirectly, what they really feel.

No pretense is made to make this seem a natural, realistic situation.

José Triana (Author of La noche de los asesinos)

We begin to familiarise ourselves with the mother and father of the house through impersonations of them by Lalo, Beba and Cuca. A significant pattern is emerging, one which makes us doubt the characters’ perception of the boundaries between the make-believe and the real. The parents scold Lalo, haranguing him for being a slob, a thief and a swine. Because in spite of everything, I love them. Lalo, as the Father, recognizes this when he says: No se pueden quejar.

When understood in these terms, it becomes painfully clear why Triana prefaces the text with the following quote from T. Their failures and frustrations are diffused into the abuse they heap on each other and on their children.

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.

But we perceive much more than this.

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. Thus trisna demons to be exorcised are the private ones who dwell in the recesses of the mind, where they grow and fester, until they convert the small obstacles in life into seemingly undefeatable dragons.


In a few brief seconds, much information has been communicated to us. Check out the top books of the year on our page Best Books of The choice of a basement, however, would not only emphasize isolation, but, by association, it would also insinuate the jjose forces of the unconscious where fears are nochs easily rationalized.

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Cuban Theater Digital Archive

Nor does such a statement deny that drama qualifies as literature. Because the ritual pattern itself is often imbued with meaning, it can, by association, also make a comment on the dramatic action.

Wright calls a play’s substance 7. Cuca mockingly rejects Lalo’s plea and demands that their play go on as before. Our brief stage rendering of the opening moments of La noche de los asesinostherefore, means nochd to suggest a possible foundation for that form in suspense, based on our interpretation of the structure and substance of the text.

Hemos llenado la sala de gladiolos. Un marido te daba seguridad. 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 assesinos of the characters can be looked to or counted on for an explanation of what is happening.

The theatregoer’s perception and understanding of a play comes from the way in which the diverse elements of the performance are orchestrated, in time and space, to produce a desired effect. Y he cavado con estas manos un hueco bien profundo. As the curtain rises, we can imagine the three characters already on stage, frozen in their positions.

Visor de obras.

La noche de los asesinos is much more than a play about dictatorial parents and their rebellious offspring. Quita un cenicero de la silla y lo pone sobre la mesa.

We’re featuring millions of their reader ratings on our book pages to help you find your new favourite book. It is considered to be both a classic and a masterpiece in the corpus of theatre written in Spanish.


He insists the ashtray must be on the chair, and not the table, and the vase should be on the floor. As Beba advances, Cuca, left, remains kneeling next to a chair she is dusting and observes her sister out of the corner of her eye.

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

It would denote place, but far more importantly, it would connote alienation, entrapment, and fear, while setting the appropriate mood. While recognizing that these individual sign systems are structures within a total, integrated structure, the following imaginative staging of the first pages of Triana’s text will concentrate mainly on the ways in which the setting and the dramatic dialogue combine with certain kinesic and proxemic aspects to help convey the playscript’s central image.

Austin, University of Texas Press. There are, however, certain difficulties inherent in such an approach. Westport, CT, Greenwood Press. Although Lalo holds a privileged position on stage, his sisters continue to pay little attention to him. Is this a fantasy, a rehearsal or the re-enactment of what has already taken place? By having the actors on stage before the curtain rises on both acts, there are no entrances onto or exits from the stage. The ambivalence in the dramatic dialogue throughout the play highlights this fact.

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.

In Modern Drama 15, pp.