Griselda Gambaro

Griselda Gambaro ( born July 28, 1928 in Buenos Aires ) is an Argentine playwright and writer.

Life

Growing up in an immigrant family with Italian roots, in middle-class family (her father was a postal worker ) with four older brothers, Griselda Gambaro first attended school in Buenos Aires. From 1943 on she worked at a publishing house, from 1947 to 1956 she was an accountant at a sports club. Only when she married the sculptor Juan Carlos Distefano, so to speak her private sponsor was, she could retire from the working world and - devote himself to writing - in addition to household and education of two children.

In 1970 she spent a year in Rome, next she graduated frequent stays abroad in lecture tours in the U.S., Canada and Europe (eg, Yale University, New York University, Maryland, Texas, Berkeley, Irvine, Montreal, Ottawa, etc.). She was also represented at theater festivals in Caracas, Paris, Cuenca, Bordeaux, Puebla ( Mexico) and Berlin. In October 1987, at Dartmouth College, Hanover (New Hampshire), held its own symposium on her work, on which the author took part alongside specialists from several countries. During the military dictatorship in Argentina the author for several years had to go into exile after her novel Ganarse la muerte was banned by decree, because it was contrary to custom and decency, and against the institution of the family; so she lived 1977-1980 in Barcelona. She also participated with the play " decir sí " ( say yes ) to the directed against the military regime event Teatro Abierto, 1981 at the Teatro picadero in Buenos Aires.

In 2010 she was one of the principal official speakers at the Frankfurt Book Fair, which was dedicated to the host country, Argentina.

Awards and prizes

Griselda Gambaro Her work has been honored with numerous awards:

• Premio Fondo Nacional de las Artes for Madrigal en ciudad 1963
• Premio Emece for El Desatino 1964
• Primer Premio Municipal de Teatro of the city of Buenos Aires in 1968
• Premio Argentino gate 1968, 1976, 1992, 1996
• Guggenheim Fellowship for the genus Roman 1981/82
• Premio konex Diploma al Mérito 1984, 1994 and 2004
• Premio de la Fundación Torcuato Di Tella 1988 dramatic for her life's work
• Premio de la Asociación de Críticos e Investigadores Teatrales 1990 " Penas sin importancia "
• Premio Nacional de Teatro 1992
• Medalla de la Cátedra Giacomo Leopardi de la Universidad de Buenos Aires in 1994
• Premio de la Academia Argentina de Letras 1998
• Premio Clarín Espectáculos 2002
• Premio konex de Platino 2004
• Honorary Doctorate of the Instituto Universitario Nacional del Arte ( IUNA ) Buenos Aires 2011

Works

Griselda Gambaro dedicates her works often repressive policy and the social environment of Argentina. Although she has published novels and short stories, it is now known primarily as a playwright on the borders of their country beyond their plays were performed on many stages in Latin America and Spain, but also in many European countries. In general, it is considered as representative of the theater of the absurd, but this is true only in part, since it always converts a concrete critique of a concrete society dramatically and even attaches great importance to the realism share in their dramas.

Often they can be the different levels of the play, dramatic text and non-verbal code, contradict each other, such as in El campo, where it already says in the title choice: With " campo " Namely, in Spanish, a rural idyll be meant or a summer camp for children, but in the course of action is clear that associations are attached to the military or to a concentration camp: the guards wearing SS uniforms, the pianist Emma has cropped hair and is humiliated by her tormentors to the utmost. Passivity and gullibility of the victims bear in Gambaros works in the work to ensure that those in power have an easy time with them. So in the novel Ganarse la muerte ( Earning death, excerpts German 1993), in which the orphan Cledy is defenseless against the cruelty of family and torturers. Ever familial and political violence in the work Gambaros are often related to each other; Black humor is one of the hallmarks Gambaros. With Información para extranjeros (Information for foreigners) can be the author of an interesting new developments in performance art, since the audience is not the same sit apart from the stage, but will be guided through a maze of rooms, where played out various scenes of torture. . Allusions to Frankenstein can be found in the novel and drama Nada que ver (con otra historia ), 1972 Antígona furiosa ( Urauff. 1986) and La casa sin sosiego ( Urauff. 1992) were set to music as a chamber opera by Jorge Gerardo Gandini Liderman respectively; and there are also several radio play adaptations of works Gambaros.

Novels

• Una con menos felicidad pena. Buenos Aires: Ed. Sudamericana, 1967.
• Nada que ver con otra historia. Buenos Aires: Ed.. Noé, 1972, 2nd edition: Buenos Aires: Torres Aguero, 1987.
• Ganarse la muerte. Buenos Aires: Ed. de la Flor, 1976 ( German excerpt titled " Earning death " in Torturada, edited by Erna Pfeiffer, Vienna. Vienna Women Verlag 1993 ). New edition of Buenos Aires: Editorial Norma, 2002.
• Dios no nos quiere contentos. Barcelona: Ed. Lumen, 1979.
• Lo impenetrable. Buenos Aires:. Torres Aguero Ed, 1984 and 1988.
• Después del día de fiesta. Barcelona / Buenos Aires: Seix Barral, 1994 edition. Buenos Aires: Editorial Norma, 2003.
• El mar que nos Trajo. Buenos Aires: Editorial Norma, 2002.
• Promesas y desvaríos. Buenos Aires: Editorial Norma, 2004.

Stories

• Madrigal en Ciudad. Buenos Aires: Ed. Goya Arte, 1963.
• El Desatino. Buenos Aires: Emece Editores, 1965 ( Premio Emece ).
• Lo mejor que se tiene. Buenos Aires: Grupo Edit. Norma, 1997 ( Premio Academia Argentina de Letras en narrativa 1996/98 ).
• Escritos inocentes. Buenos Aires: Grupo Ed. Norma, 1999.

Plays

• Theatre, Vol 1 ( includes Real envido, La malasangre, Del Sol naciente ). Buenos Aires: Edic. de la Flor, 1984. 3rd edition 1997.
• Theatre, Vol 2 ( includes Dar la vuelta, Información para extranjeros, Puesta en claro, lo que pasa sucede ). Buenos Aires: Edic. de la Flor, 1987. 2nd edition 1995.
• Teatro, Vol 3 ( includes Viaje de invierno, Nosferatu, La gracia, El depojamiento, Antígona furiosa y otras piezas breves ). Buenos Aires: Edic. de la Flor, 1989. 3rd edition 1997.
• Theatre, Vol 4 (which contains Las paredes, El Desatino, Los siameses, El campo, Nada que ver). Buenos Aires: Edic. de la Flor, 1990.
• Teatro, Vol 5 ( includes Efectos personales, Desafiar al destino, Morgan, Penas sin importancia ). Buenos Aires: Edic. de la Flor, 1991.
• Teatro, Vol 6 (contains Atando cabos, La casa sin sosiego, It necesario entender un poco ) Buenos Aires: Edic. de la Flor in 1996 /2003.
• Teatro, Vol 7 ( No hay containing normal, En la columna, Pisar el palito, para llevarle a Rosita, Cinco de ejercicios para un actor, Almas ) Buenos Aires: Edic. de la Flor, 2004

Children's Literature

• La cola mágica. Buenos Aires: Ed. de la Flor, 1976.

Other

• Conversaciones con chicos. Sobre la sociedad, los padres, los afectos, la cultura. Buenos Aires: Timerman Editores, 1976 ( interviews with children). Reprint: Ediciones Siglo XX, 1983.

Many of her plays and novels have been translated, including into English, Italian, Czech, Polish, Swedish and French.

Secondary literature

• Poder y deseo marginación. Aproximaciones a la obra de Griselda Gambaro. Buenos Aires: Puntosur, 1989.
• Lasala, Malena: Entre el y la esperanza desamparo. Una traducción filosofica a la de Griselda Gambaro estética. Buenos Aires: Ed. Biblos, 1992.
• Azor Hernández, Ileana: Neogrotesco El Argentino. Caracas: CELCIT, 1994.
• Contreras, Marta: Griselda Gambaro. Teatro de la descomposición. Universidad de Concepción (Chile ), 1994.
• Mundani, Liliana: Las máscaras de lo siniestro. Córdoba ( Argentina): Alción Editora.