Registration code sims 3. Griselda Gambaro (born July 24, 1928) is an Argentine writer, whose novels, plays, short stories, story tales, essays and novels for teenagers often concern the political violence in her home country that would develop into the Dirty War. In lieu of an abstract, here is a brief excerpt of the content: Reality Perception and Stage Setting in Griselda Gfunbaro's Las paredes and Antonio Buero Vallejo's Lafundaci6n PETER L. PODOL In his introduction to the book Encounter with Reality, John Horrocks makes the following observation: 'To a large degree, man can control reality - even as he can create, he can destroy, and sometimes he is defenseless, and reaJity can be imposed upon him. But of all man's activities, the struggle to come to terms with reality is at the apex of his experience.' ' Human nature is such that the confrontation of realityI under any conditions, is never an exact replication of the environment, but rather an individual process of rearrangement and modulation.' And in Griselda Gambaro's Las paredes and Antonio Buero VaJlejo's La jundacion, both of which present a dramatic milieu permeated with imprisoning totaJitarian forces, the need on the part of the protagonists to seek refuge in a subjective, inner reality becomes paramount. The implementation of the process of modifying reality is manifested through the stage settings of the plays. This technique involves the audience in a direct and immediate manner in the task of defining and deaJing with the nature of man's existence, while posing the Pirandellian question of the interrelationship between life and form, between illusion and reaJity.3 Las paredes (1963), Griselda Gambaro's first published play, was written in her native Argentina. The play has a metaphysical and universal dimension, but aJso dramatizes the political situation in her strife-torn country. The opening description of the apartment where the Youth finds himself imprisoned communicates immediately the essential role of self-deceit and illusion in the work; the heavy curtains on the wall 'ocultan 10 que parece ser una ventana.' 4 In fact, as the Official demonstrates, there is only a blank waJI behind those curtains. And hanging on that same wall is a painting which 'representa a un joven Ianguido mirando a traves de una ventana' (p. The adjective 'Ianguido' serves to foreshadow the Youth's complete loss of spirit and of the will to survive tbat we witness at the play's conclusion. The window that is in the painting but not in the actual room adds another level of reality to the drama, Grunbaro's Las paredes and Buero Vallejo's Lafundaci6n 45 undermining both the protagonist's and the audience's confidence in the range and veracity of their perceptions. The Official adds further to this doubt and insecurity by explaining: 'i,Observ6 Vd. Pintura de primera calidad. ![]() Usted crey6 que habla una ventana detras de los cortinados, yo crel que habla aqui una ventana (sefiala la ventana en el cuadro). Aqui en estos vidrios que reflejan el sol, que se ensucian como los reales. Optimismo, joven. Mejor que la ventana no este en ningon lado. Prefiero enriquecer los slmbolos. Fraguar ventanas sobre un mUrD, un cuademo. En todos lados, menos en las ventanas' (p. 19).6 The Official, then, who controls the perceptions, thoughts, and ultimately the very existence of the Youth, communicates early in the play the deceitful nature of a world which conspires to thwart all of our attempts to perceive and comprehend its essence. The threatening, irrational nature of life is underscored further by contradictory forces in the drama; the clash between the Custodian's 'barba despareja y de varios dias' and 'el aseo del uniforme' (p. 9)7 helps to explain his role in the work which consists ofaiding the Official in his quest to disorient and ultimately destroy the Youth.
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