I'll just answer one question. Maybe not very professional. Don't laugh.
Andres? Zaraga (19 19- 1982), one of the most representative playwrights of Argentine and Latin American new dramas, like many progressive playwrights in Latin America, Zaraga was persecuted by the dictatorship for many years and died in Caracas on May 2 1982.
Since 1960s and 1970s, Lizarraga has staged Let Him Go (1963), children's drama Karalinda, Chunhua, Patafet (1964) and Want to Buy a Small Town? "(1964)," gut "(1967)," Juana? The Trial of Assour Dewey (1972), The Bed and the Emperor (1972), Romeo, Juliet and Tango (1973), The Torturer (1974), in addition,
Besides the above, his plays are rich, including Flax Field, Lonely Color, Freedom Trilogy or May Trilogy (Juana in America, Three Judges Facing Long Silence and Upper Peru), Eternal Carriage, Madrid Conference, etc.
For researchers of Latin American drama, the name of Leigh Zaraga is closely related to Juana (1960) in the United States. The protagonist of this play is Juana, a mother with four children, who resolutely defends the cause of independent revolution regardless of everything. Her father is Spanish and her mother is an Indian woman. The family lives in poverty and can only make a living by growing crops, but half of the harvest must be given to the Spanish colonists. Juana is well aware of the exploitation and bullying suffered by her relatives, and her husband Manuel? Padilla is the leader of the guerrillas. So she organized a team of tens of thousands of women soldiers to fight and defend their rights. The detailed story of the script goes like this:
Juana is a rural girl whose father raised her as a boy. She 17 years old. She collects millet, drives cattle and does all kinds of farm work. However, her father wanted to send her to a monastery as a nun. She doesn't understand that she yearns for the life of a countryman, and her father's land needs race. She doesn't understand why the church doesn't protect the poor, but only the powerful. She couldn't stand the life in the monastery, so she left the monastery and got married. The husband is also a farmer.
Aguirre, the landlord, has smooth hair, no dirt on his boots and no calluses on his hands. He doesn't have to pay rent and tax, but Juana has to pay half of the harvest. Agnes asked her to sell him food, and he sold it to others. He wants to send his son to Spain to study, so that he can be an official and rule the poor in the future.
Juana's husband advocated killing the king like the French people and fighting for liberation like the United States got rid of Britain. So he joined the uprising. The rebels occupied the Spanish garrison command. But the rebels were brutally suppressed. Juana's husband was chased and forced to flee into the mountains, and his house was searched. When her husband returned, he decided to run away. The husband said that they were organizing an army and brought a People's Liberation Army from Buenos Aires. Juana asked to go to war with her husband: "Men have the foot strength of donkeys, and we women have the weight strength of donkeys." So, the two of them waded through mountains and rivers, not afraid to travel long distances to find the army from Buenos Aires. They found this army and asked to join the army to fight and overthrow the Spanish ruler. Casta Yi, the "doctor" of the army, told them the truth of the revolution: We should not only overthrow the rulers, but also change life itself. First of all, we must overthrow the landlords and give the land to farmers who work in the dark. In order to defend their land and homeland, they will take part in the struggle and bravely defend their motherland, which is enough to defeat the elite soldiers sent by Spain.
Juana finally organized more than ten thousand people. She fought on horseback, galloped on the battlefield, and publicized the revolutionary truth: "Land belongs to people who work with their hands. Seize the land first and then go to war. " The landlord Aguirre threatened her, saying that she incited people against the king and undermined social order. Juana pointed out seriously: his understanding of order is to keep everything the same, that is, to let the governor parade in the city with prostitutes and wine in a gorgeous carriage, while farmers can't eat their own tortillas; It is to let people wander on the road, have no land to farm, and leave their children behind!
The war expanded rapidly. Juana fought alongside her husband. She became a guerrilla commander. But the enemy occupied her home. She tried to save her child, but was chased by the enemy. She fled into the forest with four children. They are starving in the forest and can't find water to drink. Two children are dead. Juana reluctantly buried them.
Juana and guerrilla fighters fought hard in the forest for six years. She was appointed lieutenant colonel. She is wearing a military coat, white trousers, a curly hat and a saber around her waist. The landlord Aguirre, worried about losing everything, came to Juana. He offered to give her a considerable sum of money in exchange, provided that his land and business were not lost. Juana flatly refused him, so he had to leave despondently.
On one occasion, General Longtewu's troops were defeated, pursued by the enemy, and sent for help from Juana. Juana criticized their cowardice, effeminacy, arrogance and contempt for their brothers, but expressed her willingness to support them and defeat the Spanish. So she led the troops to exchange fire with thousands of enemy troops and carried out a brave blocking war. But the enemy was strong and we were weak, and Juana was injured again, so the team had to retreat. The troops were separated when they retreated. Juana walked alone for more than a hundred miles, exhausted.
Juana returned to her hometown. Local tyrants and evil gentry want to reap the fruits of the revolution, and only let Juana be a symbolic lieutenant colonel. Juana understood their intentions and fairly refuted them. Because of her resolute attitude, the enemy took more vicious measures and cut off her contact with the guerrillas.
Faced with this reality, Juana protested from the heart: "Oh, my God! Look at our America, look at our children, ragged, sallow and emaciated, look at our people, and there is not even a small piece of land for growing corn ... This struggle is not over yet! "
Juana finally died because her condition deteriorated and she swallowed her anger.
Juana in America is a three-act drama, which shows the revolutionary struggle for independence in Peru from 1809 to 1825. At that time, the people of Upper Peru set off a vigorous freedom movement. This movement has the foundation of farmers' heroic struggle to get rid of Spanish colonists. The script tells the history of the participants in the struggle. The contents include the revolutionary struggle for independence in Upper Peru and the movement of peasants for freedom and liberation. As written at the end of the script: "Our revolutionary struggle is to seize land, end hunger and eradicate violence and persecution." Like all Latin American playwrights, Leigh Zaraga adopted Brecht's dramatic creation principles in this play, and there is no lack of its educational drama features. Structurally, each scene of the script includes several scenes, and each scene includes several small scenes to show the scenes of the independent revolutionary struggle in different periods. The script creates an extraordinary female image who is not afraid of violence, dares to stand up and struggle, and strives for the recapture of the country and national liberation. Juana has become a model for Latin American women to fight for justice.
Her other play, Juana? The trial of Asu Dewey began when Juana, a "female criminal", met her defense lawyer. The "doctor" must prepare his defense carefully to deal with the repeated accusations of his client, although he has long known that no matter how he defends, he will eventually fail. He thinks this unfortunate and prickly woman is unusual. She always treats her enemies like men, and no amount of anger can tame her. She is a soldier fighting for her land. She and her man Manuel? Asensio? Padilla faced a war against the Spanish colonists' conquest of Peru. Juana was arrested because of the betrayal of those who sought political and economic power. Before she died, she recalled her childhood in the monastery, her life in the countryside, her love, the dearest person she lost, and her decision to leave her hometown for freedom, land and betrayal without regrets. With great reverence, the author tells the life of this ordinary woman, not a saint, as well as her thoughts, behaviors and ideals. Through this woman's story, various stages of Latin American history are reproduced. When the play was staged, people concerned said that the purpose of the performance was to "pay tribute to those who have endured and can still endure the consequences of their actions and continue to make contributions in different lifestyles."
1982 in the first half of the year, Leigh Zaraga accepted the female journalist Leona? Assor's interview During the conversation, he introduced his experiences as a playwright and the creation of several of his works. Before the end of the interview, the reporter mentioned what Leigh Zaraga said 20 years ago: "In this era where we live, can we write a work calmly, calmly and fearlessly?" ..... "Twenty years later, Lizarraga strengthened his belief. He said: "I think writers have one weapon, that is, literature, drama, prose and so on. And use this weapon to express political thoughts, but this is not because we are writers, but first because we are people who face life and face the most urgent events of our time. "
Leigh Zaraga's plays focus on expressing realistic problems, historical events and people, face the masses, combine education with drama, learn from others, and use the latest drama expression skills of Brecht and other European and American dramatists, and have made remarkable achievements. Therefore, he is regarded as one of the representative writers of new dramas in Argentina and Latin America. It is because it is beneficial to some innovative playwrights like Zaraga that Latin American drama has won the honor it enjoys today.
Source: Contemporary Latin American Literature Research (published by Social Science Literature Publishing House on March 20 12)