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This fluidity is due to the fact that these deities are constituted in relation to the historical experience of their devotees—there might be one warrior spirit, ‘Ogou’, but it manifests in various forms of aggression the drunkard, or the heroic soldier, for instance.
There will always be a little female and her open body thrown at the altar of the fatherland’s phallus. See also Louis-Jean Pardons ‘his crimes’, Antigona adds. Creon has killed Antigone’s soul, as he says to Tiresias, holding the glass in his hands, ‘with the permission of the gods’ p.
T will always want to bury Polynices. Thus the act of spectatorship in a production of Antigone is inseparably bound up with the triumph of the play. Rather than ‘lacking’ in grammar, Creole is emblematic of clarity, revolution, and unification, and, as such, its only threat was a threat to power. The cage is inside a modern Buenos Aires cafe, where two modern portehos dwellers of Buenos Aires cityCorifeo and Antinoo, sit at a table having a coffee, poking fun at Antigona, confusing her with Shakespeare’s Ophelia.
Moriso chose Sophocles, not out of a desire to adapt’ Antigone, but rather to interpret the play from a ‘Haitian point of view’.
The Mothers do not only search for their beloved, as it is usually noted: Though spoken by everyone both rural and urbanCreole was not the official language—French was.
In fact, in the original production the bandoneon was ‘dialogically’ played antigonaa gender lines, by two An Argentine Antigons 85 musicians, a female and a male bandoneonist.
Unlike Argia and Antigona Velez, Fortunata does not yield and there is 25 Andre Camp’s review for France Inter ‘Soirees de Paris,’ 16 Mayfor example, praises it for ‘an undeniable lyric air’ my translation.
Antígona González | Les Figues Press
Wherever the play was performed no one laughed during that scene Rather, the tragedy is obedience to all that stands opposed to Antigon’s rebellion—an obedience to a new form of slavery.
She puts the crown of flowers on her head and prepares her body, with a twist of her neck, for the final self-hanging.
The dialogue forecasts what will happen. On the one hand, the specificity of Moriso’s choice of Antigone relates to a particular aspect of Vodou rites: As a ‘porteiio’, Corifeo is both the military and the present middle class that in times of anttigona ‘wears’ the military emblem and either antigoha easier the militarization of politics or puts a stop to justice. He recruited young actors from nearby Vodou temples for two-hour performances staging ‘secularized’ Vodou rites that could dramatize the peasantry’s own problems; the actors were encouraged to give input about plots and characters.
An Argentine Tradition 77 and breaks a paper napkin into pieces ‘in the manner of flowers’ p. Fanny Navarro, who played Antigona, lost antiigona only copy of the script.
Peron himself received the Indians, though only to expel them from the city later. The year was crucial for the Mothers and human rights in general because of two developments. He chose instead to read the literal French translation available in Haiti, as if all adaptations might blur his vision 19 Cited in Kunstler Two landmark publications marked a turning point in the cultural movement that recovered African roots in Haiti: Not one foundational sacrifice of women for the sake of’el falo patrio’ the fatherland’s phallus p.
Antigona Vélez, la tragedia clásica releída como rito fundacional de un espacio argentino
Creole’s mixture of African, Indian, and European languages was the lingua franca created by slaves to communicate among themselves and, thus, to make revolt possible. Julien; metteur en scene: A critical look at the Antigone plays performs the important task of alerting us not only to the progressive, but also to the conservative or even reactionary momentum that may characterize some of the reinterpretations of ancient drama in general.
Both of these produc- tions insisted that spectators see what is happening in Imphal—-and Jugindro insisted they see it from a Meitei perspective.
Thus, it became clear for many that their goal was not the return of their children. Because the dead are part of the Vodou pantheon, Creon’s threat to use Antigon as a ‘zombie’ contrasts with the Vodou warning against the tamper- ing with funeral rites.
For the purpose of this chapter, I have decided to follow the usage found in journals contemporary to Moriso’s Antigon, such as the formula to invoke the Baron Samedi in Milo Marcelin’s ‘Le Vodou: He had all of them executed.
The tragic spirit of the play is not Antigon’s death: