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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As the curtain rises, we can imagine the three characters already on stage, frozen in their positions. But we perceive much more than this.

José Triana (Author of La noche de los asesinos)

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 nofhe.

Al fin descubro que me odias. These young adults, who have about them an air of withered adolescence, enact the brutal knife-killing of their parents, as well as the sensational press coverage and lw investigation of the heinous crime and finally, Lalo’s arrest and trial.

The choice nochs a basement, however, would not only emphasize isolation, but, by association, it would also insinuate the subterranean forces of the unconscious where fears are not easily rationalized. The ambivalence in the dramatic dialogue throughout the play highlights this fact.

Cuban Theater Digital Archive

Finally, to attempt the complete translation of a text into stage enactment would mean assuming the role and tasks of everyone involved in the collaborative venture that ends in an actual performance. At one point Cuca asks Lalo: Con los ojos muy abiertos. La noche de los asesinos is much more than a play about dictatorial parents and their rebellious offspring. We see them instead as actors on a stage who will begin performing for us as soon as the so-called fourth wall is made invisible.


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

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.

Beba and Cuca then play police officers who come to investigate the murders. 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 play’s dramatic action introduces us into the claustrophobic and demonic world of children obsessed with a need to murder their parents.

There are, however, certain difficulties inherent in such an approach. 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.

There is hatred in this play, from the fruits of a loveless marriage. This is not to say, however, that La noche de los asesinos is essentially a psychological drama. This same structure, however, can have exactly the opposite purpose and effect, especially when framed in a play-within-a-play.

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. 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.


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. The dramatic action, insofar as it speaks for itself, tells us that: The girls’ reaction of indifference quickly undermine’s Lalo’s posture.

There is human intimacy being dictated by society. A thrust or arena stage could create a feeling of community quite absent from the play itself. The parents scold Lalo, haranguing him for being a slob, a thief and a swine.

La noche de los asesinos – Out of the Wings

Lalo and his sisters, Cuca and Beba, retreat to the basement or the garret of their house, where they engage in private and forbidden games. Lalo, standing over Teiana, moves a few paces moche and listens with excitement as Beba, assuming her brother’s pontifical tone and exaggerated gestures, proclaims that she too sees her dead parents: He insists the ashtray must be on the chair, and not the table, and the vase should be on the floor.

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.

Se golpea el pecho exaltado. His histrionic pose and pontifical tone are quickly undercut by the girls’ reaction of boredom and disgust.