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Barranca Abajo. LF. Logan Falley. Updated 13 September Transcript. Un analysis de la obra de Florencio Sanchez. Florencio Sánchez is generally considered to be the first dramatist of major particularly Barranca abajo} This phenomenon is curious, since the play at its. The Dramaturgy of Florencio Sánchez: An Analysis of Barranca abajo. René De Costa. Keywords: Specific Literature, Spanish American literature, Time Period.

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Was the suicide of the protagonist in the final scene a satisfactory solution to the dramatic conflict? Llamala a mama, entonces, o a Rudelinda. Tessy rated it did not like it Oct 23, He is considered one of the founding fathers of theater in the River Plate region of Argentina and Uruguay. In the second act the family is already installed in the humble homestead of Zoilo’s ahijado Aniceto. Lear’s madness was shown in the conventional manner of Shakespeare’s time: Nevertheless, a certain sequential parallelism of action does reinforce each unit with the import of what has already occurred.

Bethany rated it liked it Feb 22, Refresh and try again. When Edgar and others rush to help him the king’s faithful servant Kent holds them all at a distance -so that Lear may die:. In fact, they are attempting to seduce Rudelinda and Prudencia. Rebe Ag rated it it was ok Oct 29, New York, Gordon Press. He has lost his ancestral estate through an accumulation of debt and being the victim of new legislation. In Act II the enemy is within; the commissioner and his cohort have already established a liaison with the younger women of the family.


The curtain goes up on yet another family quarrel. In desperation, he seeks an end to his torment.

Barranca abajo

Zoilo’s return to a normal state. Don Zoilo’s family refuses to mend its ways.

This book is not absjo featured on Listopia. The witnesses to this scene are able to realize that the greatness of the old patriarch was not in the material dimension but in the psychic realm.

A literary parallel in King Lear may help to clarify the lingering problem of the socially-oriented critics. I think not, since there is sufficient external evidence to argue for an intentional allusion.

Return to Book Page. His protagonist does not suddenly decide to kill himself; he resolutely searches for a final solution.

Don Zoilo, an aging rural patriarch, through the machinations of city lawyers loses barrancs estate. The live prop serves effectively as a symbol of Zoilo’s renewal.

To ask other readers questions about Barranca abajoplease sign up. The parallelism of scene and action in Barranca abajo would probably appear monotonous were it not for the harmony of the total structure.

Barranca abajo – Out of the Wings

Avanza lentamente y se sienta en un banquito. Marie Maudite rated it really liked it Mar 11, The drama takes place on both the external, physically real plane of naturalist theater and the internal, mentally dynamic plane of psychological drama. Lists with This Book. These new plays included a xbajo entitled La gente honesta “The Honest People” and perhaps his most famous play, Canillita “The Newspaper Vendor”both also written in Y yo tengo la culpa.


In the first act Zoilo’s peculiar behavior was noted not only by his family and, one assumes, by the audiencebut also by an outside observer.

Visor de obras.

By Act III, the old criollo ‘s position has so eroded that he can only acquiesce when his family actually does abandon him. Tengo que acabar esta pollera. I realize, of course, that gauchophiles will find it even more difficult to accept the notion of a mentally exhausted Don Zoilo than the possibility of a suicidal criollo.

Desertion and suicide thus converge to complete the metaphor of the family’s fall. Anna Pereira rated it it was ok Dec 16, In the second act, his setbacks are such that he begins to surrender to the cruelties of an indifferent world.

Events which are not pertinent to the principal action of self-assertion are made to occur between the acts. Yet, the conflict remains. Si se resiste, va a ser pior. Why should a dog, a horse, a rat, have life.

The principal action concerns the protagonist’s repeated assertion of self in his various efforts to retain his patriarchal position.

The melodramatic convention of suicide circa though would doubtless have abajjo satisfied with a sudden offstage pistol shot as the final curtain falls. Tragically Robustiana dies after a series of illnesses and poor health.