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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He insists the ashtray must be on the chair, and not the table, and the vase should be on the floor. Suddenly we remember Lalo’s previous demand joxe 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.

La noche de los asesinos – Out of the Wings

Hay que arreglar esta casa. What makes them each others’ double is their fear -of the world, of one another and principally, of themselves.

On the ttiana hand, by stressing the second of the above points, these forbidden games could be viewed as the proem to a holy and triqna shedding of blood.

We also recognize that ritual, with its reiterations and reenactments, forms the basis of the play’s dramatic structure. At the end, Lalo erupts in his last emotive lines: You must be logged in to post a comment.

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

In a few brief seconds, much information has been communicated to us. 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.

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 joes emprende con ella una gira por Europa con representaciones en Paris, en el Festival de Avinon, en Londres y en ttriana ciudades italianas. From the moment that Act I begins, most of those elements seminal to the play’s substance are orchestrated so as to produce a unified impression, which helps to orient the reader or the theatre public.


For example, in the last pages of the text Cuca- Madre and Lalo-Father confront each other in what could be called a final showdown. 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 Dramatists in Revolt: The participants hide behind their activities so as not to recognize the true nature of the conflict which divides them.

Dispatched from the UK in 3 business days When will my order arrive? The girls’ reaction of indifference quickly undermine’s Lalo’s posture. 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. Cuca-as-Mother accuses Lalo of subverting order. Asesijos, Cuca, and Beba, in a very real sense, are their own assassins, in that they condemn themselves to live a lie, one which ultimately denies them any reality of their own.

When Beba speaks, furthermore, we also realize that she too would have us see what does not asesknos, thus making us recognize from the outset that none of the asexinos on stage is to be completely trusted or believed. 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.

Visit of the imaginary police, Cuco de Tal and Bebo Mascual.

Our tentative and partial translation into stage enactment is imaginative, but as Raymond Williams stresses: As the play’s structure etches a reiterative pattern that reveals the children to be indistinguishable from their parents, the coco asewinos bugabear then becomes each and all of them.

Quita un cenicero de la silla y lo pone sobre la mesa. Firstly, it serves as retrospective exposition and provides much background information to the dramatic action. We begin to familiarise ourselves with the mother and father of the house through impersonations of them by Lalo, Beba and Cuca. The three characters’ autocratic ways would thus become a factor of subsidiary importance That is to say, its final form and import are not perceived until the performance is over.


While the text establishes the general form that it will take on stage, the first few pages of the text asewinos introduce the major component parts which will help to build the performance. These two warring sides are clearly defined from the beginning of the play and are in constant confrontation.

Noche de Los Asesinos : Jose Triana :

Lalo, Cuca, and Nochs seem unable to transform their play-acting into reality, caught as they are in a web of mutual and self-hatred as all-consuming as the hatred they feel for their parents.

La noche de los asesinos is a complex work, by no means clear in its first reading. Missing then is the logical cause-and-effect chain of events so characteristic of the well-made play in formal realism.

Last updated on 5 October As a play-within-a-play, furthermore, La noche de los asesinos is a refracted miniature of itself, in which actors enact the roles of characters who in turn are themselves actors. Y he cavado con estas manos un hueco bien profundo.

Visor de obras.

La noche de los asesinos has been performed all over the world and has gathered worldwide recognition. Cuca speaks of their parents as being alive and registers no surprise when Lalo claims to have killed them. Triana’s stage directions call for very few props: By using our website you agree to our use of cookies.

They use the dramatic medium to hide in their assumed roles. The stage as a basement would therefore be a visual commentary on the play’s action. Throughout the play, however, and notably nodhe its final moments, it is clear that the parents are not the hyperbolic demons that their children, especially Lalo, would make of them.