Aunt Julia and the Scriptwriter

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bones by hungry rats takes up rodenticide as a career and brutalizes his family, which turns on him and beats him to the edge of death. As he lies unconscious, a mouse with sharp teeth comes out of its hole and studies him. Will it eat

But Mario Vargas Llosa's novel is much more than simply Mario and Aunt Julia and Pedro Camacho - the even numbered chapters feature separate dramas of other men, women and children. We're eventually given the context of these dramas, the 'how' and 'why' they appear in the novel in the first place, but our more complete understanding unfolds progressively, chapter by chapter. Ariel Texidó, Luz Nicolás, Kika Child, and Pablo Andrade in ‘Aunt Julia and the Scriptwriter.’ Photo by Daniel Martinez. Despite the nod to a dramatic romance, to me the play comes down firmly as both celebrating and making fun of writers and writing. The playwright casts both Julia and Camacho as sometimes competing mentors of the young writer Mario. There is a third mentor in the foil role of Javier (Camilo Linares), Mario’s friend, romantic confidant, and fellow writer, although the role seems from another dramatic universe.Desson Thomson of The Washington Post wrote, "The movie spends too much time with the Aunt and not enough with the Scriptwriter." [6]

ND now for something entirely different from Latin America: a comic novel that is genuinely funny. This screwball fantasy - interwoven with a urn:oclc:872618977 Scandate 20100408194142 Scanner scribe12.sfdowntown.archive.org Scanningcenter sfdowntown Source When I asked them why they liked soap operas more than books, they protested: what nonsense, there was no comparison, books were culture and radio serials mere claptrap to help pass the time. But the truth of the matter was that they lived with their ears glued to the radio and that I'd never seen a one of them open a book.Chapters of the love story of Marito and Julia alternate with chapters (short stories?) of the increasingly bizarre radio soap operas. As a depiction of the creative process--the twinned and contrasted portraits of the artist as young man and as mad genius--there is a strength and verve that is invigorating. As a love story, it starts strong but stumbles badly towards the finishing line. Due storie che si intersecano a capitoli alterni come due voci in una fuga di Bach. Solo che una fuga di Bach è bella ma non fa ridere, questo romanzo invece è molto bello e strappa il sorriso spesso e volentieri. Why should those persons who used literature as an ornament or a pretext have any more right to be considered real writers than Pedro Camacho, who lived only to write? Because they had read (or at least knew that they should have read) Proust, Company member Carlos Castillo plays Camacho, one of the most devilishly challenging characters to bring successfully to dramatic life. Described as “a miserable little dwarf,” a man with the hands of a six-year old child, Castillo, in a disheveled dark suit and Charlie Chaplin bowler hat, draws in his arms to hover and dart like flies right around his waist. Part clown, part Wizard of Oz, Camacho not only writes the soap operas; he directs them and performs the sounds from a classic radio effects’ table. Castillo runs around the stage to embody Camacho’s prodigious, ever changing family of characters and their stories by transforming himself physically into males and females alike, only pausing to rant midstream against Argentinians (a running joke, to the howling satisfaction of Latinos in the audience) and actors. His physical transformation alone is impressive, but Castillo dares emotionally to go over “over the top” and carries us with him. Playwright Caridad Svich has found several successful solutions to re-envisioning the story dramatically by anchoring the setting in a broadcasting station during the Golden Age of Radio. She establishes a reality and draws a parallel of lead character-narrator Mario to writer Llosa, who also worked at a radio station in Lima for a time. Svich makes the cameo material indisputably part of the serialized soap operas by a new hire at the station, fellow writer Pedro Camacho. Luz Nicolás, Víctor Salinas, Pablo Andrade (center), and Carlos Castillo in ‘Aunt Julia and the Scriptwriter.’ Photo by Daniel Martinez.