Reservas – What´sapp: / Tel: () Entrada: $ LA NONA un grotesco de Roberto Cossa Elenco: Marta – Abril Grotadaura. Taller de Teatro UNLP UNLP presenta “LA NONA” -un grotesco de Roberto Cossa- SABADOS – HS Entrada $75 – Reservas () Calle 10 . 15 Jun La nona is Roberto Cossa’s best known and most performed play. Editions. Discépolo, Armando and Cossa, Roberto. El grotesco criollo.

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Please log in to add your roberto cossa la nona. La Nona, by Roberto Cossa.

And then there is la nona, whose toberto appetite is ocssa literally eating the family out roberto cossa la nona their house and home. The Neo-realist work earned him numerous Argentine drama prizes and secured his reputation in the field.

Directed by Mario Marcel. The climate of repression that prevailed in Argentina during its last dictatorship eased somewhat in as General Jorge Videla prepared to transfer power to General Roberto Violaan advocate for increased, if limited, artistic freedom.

La nonastill performed in Buenos Aires and elsewhere, remains among the most recognizable plays in Argentine theatre and was adapted into a film version in Francisco is convinced and the family arrange a civil ceremony. And then there is la nona, whose insatiable appetite is quite literally eating the family cosea of their house and home.

A dysfunctional Italian immigrant family are being eaten out of their house and home by their roberti. Contexto Historico El autor. As Oa Nona, Teran turns in an extraordinary performance. If not stopped, La Nona will eat away anything that crosses her path. His decline from a respectable working man to an alcoholic failure devoid of self-esteem is painfully effective.

Marta maintains the charade of roberto cossa la nona in a chemist, although this is a cover for roberto cossa la nona work as a prostitute.

Technical direction, Horacio Quintanilla; set and costume design, Mario Marcel; set. Carmelo runs a fruit stall, Maria tries to keep the family in order, assisted by Anyula, who is anxious to tend to every whim of her favourite nephew, Chicho.


Se trata de una familia de origen italiano viviendo en Argentina en las decadas He presses Chicho to find a job. Grotesco Criollo Acerca de la obra: Chicho, unwilling to part with his life as the out of work artist, however, has other plans. Furthermore, her gestures and movements are very restricted.

He tries to convince Carmelo that la nona, may not pose an ongoing drain to their resources as, owing to her age, she might die suddenly. A firewall is blocking access to Prezi content. By using this site, you agree to the Terms of Use and Privacy Policy. Whether yelling out in “Cocoliche,” the mixture of Spanish and Italian spoken by many Italian immigrants to Argentina, or scooping out gobs of mayonnaise with his fingers, Teran dominates by alternatively amusing or repelling the audience.

They take la nona to the doctor for a medical opinion. Marta maintains the charade of working in a chemist, although this is a cover for her work as a prostitute. What starts out as a hilarious comedy pretty soon acquires dramatic overtones. By using this site, you agree to the Terms of Use and Privacy Policy. Meanwhile, Marta goes out every night supposedly to work at a roberto cossa la nona, but is collected by a mysterious man in a Ford Falcon, a car typically associated with the secret police of the military junta of the s.

The Parisian Off Blockbuster in la nona roberto cossa Argentinian version is a musical transgressor. Teatro de la Luna does not have a curtain, so all the sets are visible for the noja performance.

Add a personal note: His theatre works became more prolific following democratic elections in and included Ya nadie recuerda a Cossz Chopin “No One Remembers F. Retrieved from ” https: The ending, ushered in on a wave of disaster, is the only possible one, nonq yet it comes as a shock.


Throughout the play, La Nona does not really engage in dialogue, and her lines never go beyond a petulant litany of foods that she happens to fancy at the moment. Francisco, now dependent, also takes up residence in the family home. With nkna deceptively soft play and relatively modest resources, Teatro de la Luna has put together an evening that packs a considerable wallop.


Throughout the play, La Nona does not really engage in dialogue, and her lines never go beyond a petulant litany of foods that she happens to fancy at the moment. It is a loaded stage, with the dining room and kitchen in the middle, Chicho’s bedroom off to one side and the newsstand owned by Francisco Mario MedelLa Nona’s ill-fated husband, on the other.

Chicho is now alone with La nona and we hear him shoot himself offstage. Carmelo has been forced to sell his stall and Chicho has resorted to selling bibles.

He is endearing, coarse and grotesque all at once.


Please log in or sign up for a free account. True, it is hard to go wrong with such a juicy role. The family home is now emptied of furniture and Carmelo and Chicho are nnoa flowers in a cemetery, while Marta is in hospital. What do you do with a grandmother who is eating you out of house and home? But this is really the only weak link worth noting.

The budget-buster is La Nona’s voracious appetite. She is either sitting at the table and eating, or sitting in a chair upstage and eating. Argentine playwright Roberto Cossa lulls the audience with laughter before proceeding to rip it apart emotionally by laying bare terrible truths about the human condition. Published January 1st by Corregidor first published January 1st Francisco, now dependent, also takes up residence in the la nona roberto cossa home.