0. Altmetric. Original Articles. El Grito Infinito: Ecos Coloniales en La Malasangre de Griselda Gambaro. Gail A. Bulman Syracuse University. Griselda Gambaro has 54 books on Goodreads with ratings. Griselda Gambaro’s most popular book is La malasangre. El Grito Infinito: Ecos Coloniales en La Malasangre de Griselda Gambaro. Article in Symposium 48(4) · September with 14 Reads.
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Books by Griselda Gambaro (Author of La malasangre)
Gambaro’s dramaturgy is one of extremes. In a terrifying instance of dangerous games, she plays the role of Daddy’s little girl while her father decides how to punish Rafael. The Padre orders Rafael’s death, and upon viewing his lifeless body, Dolores vows revenge. The production offers many similarly vivid and tense scenes of cruelty and aggression. The scene ends in a hellish, blackish red light, foreshadowing the blood that will soon run.
The superficially frolicsome act horrifies with its sexual suggestion of incest and underlying violence. Dolores’s father ignores this sexual assault. The actors, Anilu Pardo and Gonzalo Villanueva, perform with passion and conviction, making the relationship lq, and ultimately tragic.
In order for the play to work dramatically, Dolores and Rafael must have a chemistry that bespeaks love and hate simultaneously. The play, La malasangre Bad Blooddebuted in [End Page ] Buenos Aires in toward the end of the Dirty War—when nearly 30, citizens gambwro kidnapped, tortured, and murdered by the military government.
Malasngre play is a brilliantly constructed chess game with characters who alternate between oppressor and oppressed. The play reminds us that though we cannot maladangre recapture the mood of s Argentina, bloody and battered by dictatorship, we can, in the current world, still feel Argentina’s pain as it oa yet another political, social, dd economic crisis.
Without cookies your experience may not be seamless. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. The two young people eventually fall in love and plan their escape.
In lieu of an abstract, here is a brief excerpt of the content: 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.
However, the Madre informs the Padre of their stratagem. Repertorio Espanol, New York City.
On the debit side, the production often does not go far enough in its depictions of violence. Built on the Johns Hopkins University Campus. The tortured nature of their relationship is exemplified in the scene where Dolores provokes Rafael to hit her by repeatedly cursing him as servile. They have produced a play by Griselda Gambaro, a contemporary Argentine playwright whose work is too rarely seen in the United States.
ee After he does indeed strike her, she calls her father Benigno played by Mauricio Bustamente, who [End Page ] easily moves between the character’s authoritative and comedic features, making Benigno a sadistic prankster. The father, with his bright red jacket, angular face, and slim body, takes on the grotesque hue of a devil.
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With a startling light change, Dolores alters expression and stares at her father, now cognizant of the real pain that she has effected.
In contrasting scenes, Gambaro trenchantly displays the irony and cruelty of power relationships. They joke childishly with each other, with Dolores eventually sitting on her father’s lap while he bounces her on his knee.
Books by Griselda Gambaro
Further adding to the disturbing nature of the scene, the father orders Fermin to dance with Rafael, to humiliate the already victimized tutor. 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.
His sadistic character is captured convincingly by the attractive actor Gerardo Gudino. 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.
Within this familial microcosm, Gambaro denounces state terrorism and the ignorance of a population that blinds itself to atrocity. 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.