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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The girls’ reaction of indifference quickly undermine’s Lalo’s posture. Un marido te daba seguridad. It is full of disorder and decay: This petty, middle-aged couple is not the stuff of which bloody dictators are made, nor are their children. Rather than participating in a ritual, in its truest sense, their games are a habit or a routine that allow them an emotional escape An analysis of the playscript thus leads to other choices based on the interpretation of its unifying dramatic image.

While this paints a picture of a moth-eaten and somewhat cluttered room, it does not necessarily indicate the filth to which Cuca refers. The three characters’ autocratic ways would thus become a factor of subsidiary importance La noche de los asesinos is a complex work, by no means clear in its first reading.

While Triana’s play is multivalent, it does make a central dramatic statement which is glimpsed not so much in the play’s story as in its overall structure.

These are controlling parents who snobbishly put emphasis on social status; they place a burden of expectation on their children to compensate them for their unhappy marriage and unfulfilled lives which they claim to have sacrificed in the interests of their children.

We learn that they are play-acting, that their representation concerns a murder and that this is not the first time they have engaged in such activities. Styan has stated that plays are meant to be seen and not read, which is not to say that they cannot or should not be read 1.

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

By having the actors on stage before the curtain rises on both acts, there are no entrances onto or exits from the stage. Nunca me he sentido tan dichosa. They use the dramatic medium to hide in their assumed roles. In the readers’ case, the script substitutes for the performance and is the primary means of grasping a play’s essence.

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:. Se me ponen los pelos de punta. The New Latin American Theater, eds. We also note that Lalo’s command to close the door is not heeded, as the door is already closed.

La noche de los asesinos – Out of the Wings

This framework or structure helps to communicate the unifying idea of a dramatic text, as is the case with La noche de los asesinoswhere substance is largely conveyed by the way in which the dramatic action is made to happen. 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.

Both have a common goal or purpose, which is to convey a unifying idea or central dramatic image, what Edward A. As Cuca and Lalo continue to dominate the stage, the following verbal confrontation ensues:.

In Modern Drama 15, pp.

We are thus put on guard and begin to wonder what is really happening. On the other hand, by stressing the second of the above points, these forbidden games could be viewed as the proem to a holy joee necessary shedding of blood.

The two acts which comprise La noche de los asesinostherefore, are seemingly a preparatory rite, doomed to be repeated again and again, until the children can finally consummate their criminal act.


Y he cavado con estas manos un hueco bien profundo. Our tentative and partial translation into stage enactment is imaginative, but as Raymond Williams stresses: In this new configuration, it is not the parents who are in charge and a new dynamic between the siblings begins to emerge where they tussle for the power and authority that once belonged to their mother and father. Firstly, it serves as retrospective exposition and provides much background information to the dramatic action.

Yet when their words hit too close to home, as it were, Cuca rebels and steps out of her role. The use of the much maligned proscenium stage triaba this case might well be appropriate to further enhance the connotative level of the setting Este cuarto es un asco.

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Noche de Los Asesinos

While the text establishes the general form that it will take on stage, the first few pages of the text immediately introduce the major component parts which will help to build the performance. Westport, CT, Greenwood Press. Lalo’s reference to a murderer may conjure up images of lethal weapons, but these will be shattered instantly by the reality of the cleaning rag and feather duster which Beba and Cuca, respectively, hold in their hands.

Lalo seems to realize this when he says: The motif of fear is recurrent throughout the play and emphasizes the fact that the characters are not so much slaves as they are self-enslaved.