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In Marechal’s play, Ignacio is the brother who attacks the hacienda, owned by Facundo-Rosas. It is a story told in every country and in every language.
These spirits 34 Dayan As if to remind us that colonial, enlightened France could not imagine African slaves measuring up to the task of a revolution other than by being ‘inspired by the French’, the French reviews were riddled by comments on how the play did not measure up to the ‘depth’ of the ‘original’ Greek tragedy, which, of course, amounted to nothing more than its French adaptations.
The obvious reference, often cited in academic writing, for this Antigona is the dirty war’s estimated 30, disappeared, and the real-life women, often compared to Antigone, that have taken the name of the public space they seized for their demand for justice: Enter the email address you signed up with and we’ll email you a reset link.
Switching register from mother to woman, Evita urges action: The Asociacion opted against any negotiation, standing behind their slogans ‘All the bodies back or none’ and ‘Back alive’.
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Spirits are grouped in families or ‘nations’ that refer not so much to the spirits’ geographical origins in Africa, but rather to the modes of relationships that they represent, their hegemonic domains in life, their ethos, and the way their devotees relate to velfz.
On the political side, a simplistic association between the repre- sentation of Creon’s rule and the Haitian political situation is not sufficient.
Though spoken by everyone both rural and urbanCreole was not the official language—French was. The show was preceded by the National Hymn sung by a chorus of voices, which according to the press was greeted ‘with profound patriotic fervor’. It is a lineage of women rebelling against their pain and the violence of men, who are good only for fratricidal war.
Moriso chose Sophocles, not out of a desire to adapt’ Antigone, but rather to interpret the play from a ‘Haitian point of view’.
File:Antígona – Wikimedia Commons
Fortunata will bury him because he represents the ideals of freedom, versus the ‘tyranny’ of Rosas. Antigona’s burial of Polynices at the Congress Palace is a reference to Evita, as her corpse was displayed there for two days after her twelve-day wake.
When Tiresias leaves, Creon orders Filo to put six more guards at the site of Polynices’s corpse, but Filo returns to inform Creon that he has seen the ‘djab’ Antigon burying her brother.
Her disappeared, violated corpse is an icon for the country, as she says: Creon introduces a knife in the vase, and the water turns red: Facundo neither grieves nor repents: One of the harshest anti-Vodou campaigns took place during Moriso’s lifetime, when Elie Lescot ruled the country and joined forces with the Catholic Church in the destruc- tion of Vodou temples, confiscating ceremonial objects, arresting priests, and circulating ‘anti-Vodou catechisms’.
T will always want to bury Polynices.
Corifeo confirms this image with the usual line at the time of the dictatorship that blamed the disappeared for their fate: He tries to talk to Antigon, but to no avail; he is then confronted by Hemon, who enters calmly with his peasant hat under his arm. It happened in Greece but it is so universal that it could happen today in a rural area in Haiti that is also called Thebes, at the house of a chief of a rural area that believes himself to be the state See, for instance, the introduction to this problem and also a reference to the leaders’ differences with regards to Vodou, in Trouillot and Pluchon ; for an updated bibliography see Geggus The Salado river indicates the foundational narrative of the modern liberal state, the first expedition of the so-called conquest of the desert inled by Martin Rodriguezfollowed by the second one inled by Juan Manuel de Rosasby then the ruthless governor of Buenos Aires.
Antigona Vélez, la tragedia clásica releída como rito fundacional de un espacio argentino
Corifeo voices Polynices’, the citizen’s, and Creon’s thoughts at once: The ‘disappearances’ during colonial times in the system of tunnels that was built underneath the city for hiding or escape are referenced in the line ‘She will be antigonq alive.
Before death, Antigona oscillates between mother and woman: Marechal and Sanchez convert their Antigone figures into icons conducive to promoting specific ideological agendas. Varela’s play shifted both the ancient and the Renaissance focus: Military unrest had grown and culminated in a rebellion at Easter That was in April It was the drama of what post-revolutionary national identity had wanted to eliminate—the religion and the language of the black slaves who ousted the French, which the new nineteenth-century mulatto ruling classes Nations, director: Staging Greek dramas and Shakespeare using Asian performing concepts and conventions at the turn of the twenty-first century had, Lu observed, become popular.
It is not so tragic! The city River is also a character, voiced by the women, as it assumes the violent historical role of ‘swallowing’ corpses that Buenos Aires threw into its entrails.
But the bodies of this tragedy are nowhere to be found. Instead, this Antigona furiously regains life repeatedly as needed: Vodou was not only persecuted by authorities but also at times officially forbidden under the label of ‘superstition’.
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 antitona rites.