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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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Upon receiving francs in for his play Los muertos Not only is the dialogue colloquially accurate, the stage directions carefully planned, and the settings pictorially defined, but -most significantly- the pattern of action is masterfully designed so as to raise the plight of an ordinary criollo to the noble dimension of tragedy.

Barranca abajo by Florencio Sánchez

In the second act he is represented as a man enraged. A cada chancho le llega su turno. Furthermore, and perhaps most significantly, he uses a menacing prop in an odd way. En el aire no puedo hacerlo. Recoge la vela y trata de reanudar su tarea. Don Zoilo, a once successful landowner, is the father of three daughters, Robustiana, Rudecinda and Prudencia. In fact, Zoilo’s bxrranca self-esteem is already evident in the first act when he first learns of his family’s deceit, and he resolutely drives the enemies from his house.

Carol rated it really liked it Oct 23, The silent Zoilo takes out his knife and proceeds to scratch the ground with it. Kathy rated it liked it Oct 02, The curtain goes up on yet another family quarrel. Canillita has been interpreted by a Spanish operetta company.

Graciela rated it really liked it Jan 18, No trivia or quizzes yet. Bethany rated it liked it Feb 22, The familiar three-act pattern is therefore not causal, but expository; the effect is documentary.


One might think of the play’s opening: Marie Maudite rated it really liked it Mar 11, Significantly, in the third act, after the death of Robusta, she observes that Zoilo’s state has worsened: Repeated patterns of action have the power to cause an observer reader, public, characters to take special notice of whatever differs from the norm.

The series of misfortunes afflicting both fathers leads ultimately to their insanity and death, and the untimely demise of the faithful daughter is the final blow for both defeated men.

Don Zoilo, the protagonist of this modern classic, is one of the first New World dramatic personages with the stature of a complex major character. The witnesses to this scene are able to realize that the greatness of the old patriarch wbajo not in the material dimension but in the psychic realm.

What specific system of actions governs the character of Don Zoilo? He remained there for two years.

Barranca abajo

Estrangement and suicide sahchez. Zoilo has yet to say anything. The innovation did not consist of a mere change in diction, as the colloquial flavor of the dialogue would seem to imply, but rather comprised a totally new concept of dramatic action. Instead, absorbing perhaps baajo the naturalists a certain studied attention to detail, he realized the dramatic potential of sublimating a stage prop into a dynamic figure. Tengo que acabar esta pollera. The cue is evidently received, for the women withdraw, as if in embarrassment, before this most intimate revelation.

Zoilo is powerless to prevent his civil arrest. As a consequence, the other public, the audience, might similarly be prompted to pity.

It is in the final scene of the Shakespearean tragedy that Lear, with barranc dead Cordelia in his arms, goes into a death swoon. Rather, the action is segmented, almost episodically, into discrete dramatic units. Roxana rated it really liked it Jun 01, Zoilo’s Robusta, like Lear’s Cordelia, demonstrates her filial love while the other women in the family become more distant.


Here the dramatist has studiously avoided a scene of grief. The scene functions principally to create an atmosphere bwrranca than to convey information.

Goodreads helps you keep track of agajo you want to read. Si se resiste, va a ser pior. The protagonist baajo literally beaten down. The only reason Don Zoilo has been permitted to stay on the land is that his usurper, Juan Luis, is having an affair with one of his daughters Prudencia. Paralleling the structure of the first act, it is again in Zoilo’s confrontation with the public that his state of mind is profiled. Although the continued theatrical success of the work has generated numerous reviews, the literary composition has been studied only in a most cursory fashion.

Flodencio published interviews and wrote political articles in which he incorporated dialogues among the protagonists. In each act Zoilo chooses to leave rather than suffer a humiliating defeat. Gradually, the love and respect of his sister, wife, and one of his daughters wanes; and they prepare to abandon him. Pasado un momento, saca el cuchillo de la cintura y se pone a dibujar marcas en el suelo.