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In contrasting scenes, Gambaro trenchantly displays the irony and cruelty of power relationships.

In addition, Dolores suffers in watching malasantre decent man abused. The terror often overwhelms in its intensity and precision, explaining However, the Madre informs the Padre of their stratagem.

Gambaro Griselda La Malasangre

The Padre orders Rafael’s death, and upon viewing his lifeless body, Dolores griselea revenge. 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.

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His sadistic character is captured convincingly by the attractive actor Gerardo Gudino. In a terrifying instance of dangerous games, she plays the role of Daddy’s little girl while her ggiselda decides how to punish Rafael.

The two young people eventually fall in love and plan their escape. The production offers many similarly vivid and tense scenes of mwlasangre and aggression.

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Calaméo – Gambaro Griselda La Malasangre

The actors, Anilu Pardo and Gonzalo Villanueva, perform with passion and conviction, making the relationship believable, and ultimately tragic. 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.


On the debit side, the production often does malassangre go far enough in its depictions of violence. They joke childishly with each other, with Dolores eventually sitting on her father’s lap while he bounces her on his knee.

They have produced a play by Griselda Gambaro, a contemporary Argentine playwright whose work is too rarely seen in the United States. Built on the Johns Hopkins University Campus. Repertorio Espanol, New York City. The scene griseldw in a hellish, blackish red light, foreshadowing the blood that will soon run. In order for the play to work dramatically, Dolores and Rafael must have a chemistry that bespeaks love and hate simultaneously.

The father, with malasajgre bright red jacket, angular face, and slim body, takes on the grotesque hue of a devil. Gambaro’s dramaturgy is one of extremes. 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. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

The Padre, named Benigno, alluding both to the fascist Tambaro Mussolini and commenting ironically to his own harmful nature, hires a hunchbacked tutor, Rafael, to malasangge his spoiled and haughty daughter, Dolores.

The tortured nature of their relationship is exemplified in the scene where Dolores provokes Rafael to hit her by repeatedly cursing him as servile. The play, La malasangre Bad Bloodgrisleda in [End Page ] Buenos Aires in toward the end of the Dirty War—when nearly 30, citizens were kidnapped, tortured, and murdered by the military government.

Further adding to the disturbing nature of the scene, the father orders Fermin to dance with Rafael, to humiliate the already victimized tutor. Theatricality becomes a form of torture for Dolores, and perhaps, the audience.


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. Though the production, by malasagre Mexican director Alejandra Orozco, downplays the political for the personal, the many confrontations in the play strikingly display the power relationships.

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.

In lieu of an abstract, here is a brief excerpt of the content: With a startling light change, Dolores alters expression and stares at her father, now cognizant of the real pain that she has effected. Within this familial microcosm, Gambaro denounces state terrorism and the ignorance of a population that blinds itself to atrocity.

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Dolores’s father ignores this sexual assault. The play is a brilliantly constructed chess game with characters who alternate between oppressor and oppressed. The superficially frolicsome act horrifies with its sexual suggestion of incest and underlying violence.