Bad Blood (La malasangre) [Griselda Gambaro, Marguerite Feitlowitz] on *FREE* shipping on qualifying offers. La Malasangre Y Otras Obras De Teatro [GRISELDA GAMBARO] on Amazon. com. *FREE* shipping on qualifying offers. Download Citation on ResearchGate | La Malasangre (review) | Theatre Journal They have produced a play by Griselda Gambaro, a contemporary Argentine.
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Within this familial microcosm, Gambaro denounces state terrorism and the ignorance of a population that blinds itself to atrocity. Without cookies your experience may not be seamless. The play reminds us that though we cannot perfectly recapture the mood of s Argentina, bloody and battered by dictatorship, we can, in the current world, still feel Argentina’s pain as it undergoes yet another political, social, and economic crisis.
On the debit side, the production often does not go far enough in its depictions of violence.
Contact Contact Us Help. Further adding to the disturbing nature of the scene, the father orders Fermin to dance with Rafael, to humiliate the already victimized tutor. Dolores’s father ignores this sexual assault. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. His sadistic character is captured maladangre by the attractive actor Gerardo Gudino.
Gambaro Griselda La Malasangre
After he does indeed strike her, she calls her father Benigno played by Mauricio Bustamente, who [End Page ] easily malasaangre between the character’s authoritative and comedic features, making Benigno a sadistic prankster. Built on the Johns Hopkins University Campus. The two young people eventually fall in love and plan their escape.
The play is a brilliantly constructed chess game with characters malasabgre alternate between oppressor and oppressed. The play, La malasangre Bad Blooddebuted in [End Page ] Buenos Aires in toward the end of the Dirty War—when nearly 30, citizens were kidnapped, malasangrre, and murdered by the military government.
The tortured nature of their relationship is exemplified in the scene where Dolores provokes Rafael to hit her by repeatedly cursing him as servile.
Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. They have malasangde a play by Griselda Gambaro, a contemporary Argentine playwright whose work is too rarely seen in the United States.
In addition, Dolores suffers in watching this decent man abused. The superficially frolicsome act horrifies with its sexual suggestion of incest and underlying violence. The scene ends in a hellish, blackish red light, foreshadowing the blood that will soon run.
The production offers many similarly vivid and nalasangre scenes of cruelty and aggression.
In order for the play to work dramatically, Dolores and Rafael must have a chemistry that bespeaks love and hate simultaneously. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Gambaro’s dramaturgy is one of extremes. In contrasting scenes, Gambaro trenchantly displays the irony and cruelty of power relationships.
Griselda Gambaro Quotes (Author of La malasangre)
The Padre orders Rafael’s death, and upon viewing his lifeless body, Nalasangre vows revenge. They joke childishly with each other, with Dolores eventually sitting on her father’s lap while he bounces her on his knee. The Padre, named Benigno, alluding both to the fascist Benito Mussolini and commenting ironically to his own harmful nature, hires a hunchbacked tutor, Rafael, to instruct his spoiled and haughty daughter, Dolores.
With a startling light change, Dolores alters expression and stares at her father, now cognizant of the real pain that she has effected. The actors, Anilu Pardo and Gonzalo Villanueva, perform with passion and conviction, making the relationship believable, and ultimately tragic.
Theatricality becomes a form of torture for Dolores, and perhaps, the audience. The tone of playfulness shifts abruptly to naked violence as Rafael is dragged away by the father’s lackey, Fermin Dario Tangelsona creepy, fawning fellow.
Though the production, by the Mexican director Alejandra Orozco, downplays the political for the personal, the many confrontations in the play strikingly display the power relationships. The terror often overwhelms in its intensity and precision, explaining