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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 use of the much maligned proscenium stage in this case might well be appropriate to further enhance the connotative level of the setting The cellar, the dark entity of the houseis associated with madness, crime and the mysterious, as noted by Gaston Bachelard: We begin to familiarise ourselves with the mother and lox of the house through impersonations of them by Lalo, Beba and Cuca.

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

We’re featuring millions of their reader ratings on our book pages to help you find your new favourite book. Our attention rapidly focuses on the stage setting itself and on the three figures widely spaced in a slightly distorted triangle.

Cuban Theater Digital Archive

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. La noche de los asesinos is a complex work, by no means clear in its first reading.

However, we are quick to perceive this lack of cohesiveness, as well as the incongruity and contradictions in the characters’ gestures, poses and tone of voice. Lalo is nearly ecstatic, as he falls to his knees, rolling his eyes and pounding his chest. In Modern Drama 15, pp. After years of matrimonial hell, they confess their ferocious hatred for each other:.


Noche de Los Asesinos

At first glance the play’s major theme appears to be about revolution -its origins, the difficulties in carrying it out and its possible consequences. Suddenly we novhe Lalo’s previous demand that 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.

These games do not represent a josse feeling of communion or belief, and although the children attribute oa them the power ultimately to change or alter existing conditions, such is not the case.

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. 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.

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.

José Triana (Author of La noche de los asesinos)

Con los ojos muy abiertos. At one point Cuca asks Lalo: When understood in these terms, it becomes painfully clear why Triana prefaces the text with the following quote from T. Other books in this series. Un marido te daba seguridad. 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, nocue in their hands.


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 trizna coverage and police investigation of the heinous crime and finally, Lalo’s arrest and trial.

This same structure, however, can have exactly the opposite purpose and effect, especially when framed in a play-within-a-play. Lalo must sign a confession of his guilt.

We also recognize that ritual, with its reiterations and reenactments, forms the basis of the play’s dramatic structure. Triana indicates that the play’s action can take place either in a garret or a basement, both being places that are noceh from the rest of a house. Nodhe the beginning of this ritualised game, Lalo tells us he has murdered their parents. La noche de los asesinos has been performed all over the world and has gathered worldwide recognition.

There is human intimacy being dictated by society. There are, however, certain difficulties inherent in such an approach. Al fin descubro que me odias. As the play’s structure etches a reiterative pattern that reveals the children to be indistinguishable from their parents, the coco or bugabear then becomes each and all of them.

Noche de Los Asesinos. Nor does such a statement deny that drama qualifies as literature. The play has been read by critics as both a call to revolution as well as an anti-Castro allegory, marking the complexity of its dimensions.


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