El cementerio de automoviles [Fernando Arrabal] on *FREE* shipping on qualifying offers. EL HOMBRE PANICO. EL CEMENTERIO DE AUTOMOVILES. CIUGRENA. LOS DOS VERDUGOS. [Arrabal Fernando] on *FREE* shipping on. By Fernando Arrabal El Cementerio de Automoviles, el Arquitecto y El Emperador de Asiria (Spanish Edition) (7th Seventh Edition) [Paperback] on

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Car Cemetery dr a reimagining of the crucifixion story, set in a car cemetery populated by a cast of weird and wonderful characters. Hotel guests are squashed into cars. Runners sprint across the stage. Couples make love among the ruins.

And then there are the jazz musicians: The hotel guests never leave their respective cars, although we are always conscious of their presence as they snicker and make comments about the action on stage. Milos and his beautiful young companion Dila run the hotel.

El hombre pánico / El cementerio de automóviles / Ciugrena / Los dos verdugos by Fernando Arrabal

automviles Theirs is a strange relationship, as they alternately punish and forgive each other for failing in various concierge duties, such as kissing the guests good night. Other characters use the car graveyard for their own purposes. For the young Tiosdio, it is his sports ground where he is pushed to the limit by Lasca, his elderly personal trainer and lover.

Then there is Emanu, the Christ-like trumpet player.

On the night the play begins, the musicians are preparing to play at a dance. They do this every evening, despite the risk. Offstage, an excited and demanding crowd has amassed. He goes to meet Dila.

Every night, Emanu tells Dila he is a virgin, only to confess his lie after the two of them have made love behind a car. Their evening encounters amuse Milos and the hotel guests, who titter behind their curtains as they spy on the couple. Despite his nightly lie to Dila, Emanu always aspires to do good. He tells of his humble beginnings as the son of a carpenter who learnt to play the trumpet and left his village to go and spread his music far and wide.


Emanu wants the poor to hear his trumpet playing, and so is prepared to risk arrest every evening at the dance. Rather nonchalantly, Dila tells Emanu that he will probably be arrested that very night. And indeed, offstage the noise of sirens and police whistles alert Emanu to danger. Soon, he and his fellow musicians are running to and fro trying to evade capture. Meanwhile, the athletes Tiosido and Lasca reappear. Tiosido has been pushed to the limit and falls down exhausted. Lasca revives him, and the odd couple book a night together in one of the cars, unperturbed by the racket going on around them.

The police whistles get closer. But at the last moment Dila saves them. From offstage she calls out seductively and the police officers go off to enjoy whatever delights she has to offer. When Dila returns, she tells the musicians that the police only want to arrest Emanu.

In fact, there is an award offered to anyone prepared to divulge his whereabouts. The officers sprint off in pursuit of their prey as night falls on the car cemetery once again and the hotel guests prepare for bed. Emanu is led off to be tortured. Foder is also in danger, as Tiosido and Lasca demand to know if he is a friend of Emanu.

They ask him three times, and three times Foder denies it, thus saving himself. This is the latest addition to the car cemetery, its proud parents two of the hotel guests.

El hombre pánico / El cementerio de automóviles / Ciugrena / Los dos verdugos

In fact, apart from Dila, the entire hotel is more interested in the crying child than in the tortured screams of Emanu offstage. When Emanu enters again, he is stretched out over a bicycle, his arms outstretched. Dila wipes the blood and sweat from his brow.


As daylight returns, his dying and battered body is wheeled away. The hotel guests start up their infuriating laughter once more. Dila rings a bell, to tell everyone that another day has begun. Foder denies knowing Emanu three times, just as Peter denies knowing Jesus. Dila performs a Mary Magdalene role in the play, while at the end, Milos is forced to help push the bicycle carrying Emanu.

The antics of the three musicians running to and fro to escape the police is reminiscent of a Chaplin farce. The trio of musicians are reminiscent of the Marx Brothers, not least because Foder, like Automovoles Marx, never speaks.

Academically, the play has been considered from a number of perspectives. Most notably, it is seen as a dystopian yet ludic exploration of human lust and social and religious indifference.

Cementerio de Automóviles. Fernando Arrabal

With this play Arrabal has created a rich and imaginative metaphor for the decay of our technological civilization and collapse of all systems of morality. He has given us an automovilse Christ figure who is more akin to a Chaplinesque tramp than to a savior and a cast of characters who tenderly murder and brutally love.

The Theater of Fernando Arrabal: A Garden of Earthly Delights. New York, New York University. Teatro completovol. I, introduction by Angel Berenguer. Similar plays are automatically suggested by our system based on similar fields such as genres and types or keywords.

Entry written by Gwynneth Dowling. Last updated on 15 March You must be logged in to add tags.

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