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Medea en el espejo (1959), José Triana
Medea in the Mirror (2004), translated by Gwynne Edwards
ACT ONE, Scene One
- Edition
-
Vargas Llosa, Mario. 2004. The Methuen book of contemporary Latin American plays, trans. Gwynne Edwards. London, Methuen
p. 127 - Context:
- This is the opening of the play
- Sample text
-
Maria alone. When the curtain rises she is centre stage. The distant sound of children singing.
MARIA: No, I can’t be sure. I must control myself. But ... why should this happen now, at the very moment I want to sit and be able to breathe? I have to be very careful. The others want me to pounce. I see it written in their faces. No need to try to work out its meaning. Can you ever imprison a cat? But faith and strength shall be my weapons. Julián is the father of my children. Julián, Julián. My destiny is you.
- Copyright
-
The above sample taken from the translation Medea in the Mirror (2004) by Gwynne Edwards is licensed under a Creative Commons License.
ACT ONE, Scene Two
- Edition
-
Vargas Llosa, Mario. 2004. The Methuen book of contemporary Latin American plays, trans. Gwynne Edwards. London, Methuen
pp. 127-131 - Context:
- This is the opening of the play.
- Sample text
-
Erundina enters stage left.
MARIA: I shall discover what’s going on.
ERUNDINA: (Whispering.) Maria, Maria.
MARIA: What do you want?
ERUNDINA: I’ve been looking for you everywhere.
MARIA: (Fanning herself.) I can’t breathe inside there. Those rooms are getting on my nerves.
ERUNDINA: You have to come inside.
MARIA: What’s all the rush?
ERUNDINA: It’s very important.
MARIA: What do you mean?
ERUNDINA: Come inside.
MARIA: But I don’t want to.
ERUNDINA: I’ve brought the mirror.
MARIA: The mirror?
ERUNDINA: Right.
MARIA: So what am I supposed to do with it?
ERUNDINA: Look at yourself. (Pause.) You didn’t sleep a wink last night.
MARIA: Were you watching me?
ERUNDINA: You haven’t closed your eyes for nights on end.
MARIA: Are you sure you aren’t from the Salvation Army?
ERUNDINA: Remember who you are, Maria. Besides, it will soon be Carnival.
MARIA: I am getting old, Erundina.
ERUNDINA: You are playing the corpse to see what kind of funeral you’ll get.
MARIA: (Ironically.) I have to find out what’s going on.
ERUNDINA: (Mockingly.) Then you’ll need to consult the Spiritualist Centre.
MARIA: Has Julián come back?
ERUNDINA: Why do you ask? (Pause.) Have you seen him?
MARIA: No.
ERUNDINA: Well then ...
MARIA: (Interrupting.) Then I’ll have to call Madam Pitonisa. I need advice.
ERUNDINA: Do you think it’s because of witchcraft that Julián has disappeared from your house? Do you think a pack of cards will tell you why?
MARIA: Don’t contradict me.
ERUNDINA: I want to help you.
MARIA: I haven’t asked you to.
ERUNDINA: I care for your children.
MARIA: (Surprised.) For my children? (Desperate.) Where are they?
ERUNDINA: In the backyard, with Carmelina’s children.
MARIA: I don’t want to see them.
ERUNDINA: Poor things! How are they to blame? When I left, they had finished their tea. They were playing with their dolls. That was when Salustiano arrived ... at that very moment. He’s nothing but skin and bone, you know. It seems he isn’t getting on with his wife. At least, that’s what he told me. He told me to he’s very concerned about Julián’s disappearance. That’s all the people are talking about. Maria, listen to me. What’s going to become of you? Could it be he’s peddling drugs again? Remember what happened on Christmas Eve. The police might have picked him up.
MARIA: Be quiet.
ERUNDINA: But he’s always done that sort of thing. What’s so special now?
MARIA: I said be quiet.
ERUNDINA: If it bothers you, all right. (As if she were talking to someone else.) It’s not as if I haven’t told her ... Maria, why are you so foolish? Why don’t you use your common sense? ... It’s just like talking to a wall. She takes no notice. (To Maria.) You’ll see what Juliancito’s going to do to you. You’ll see soon enough. (Again as if she were talking to some unseen person.) This woman is so stubborn. It’s like an obsession. Something stuck inside her head, and she won’t leave it as long as she lives. (To Maria.) They are saying that Perico Piedra Fina’s up to something. That man’s an agent of the Devil.
MARIA: You always like to exaggerate. What do you mean?
ERUNDINA: It’s the truth. The absolute truth.
MARIA: (Laughing.) The truth. Erundina seeks the truth. Erundina tries to deceive me with the truth. The truth you can buy on street corners, or in el chino Miguel’s bar. The truth is the same whether it’s a mango or an orange. (In a different tone of voice.) You are mad, Erundina. Completely mad.
ERUNDINA: Face the truth, Maria. There’s still enough time.
MARIA: You’ve always liked your little joke.
ERUNDINA: Think, think, think until you get beyond the boundary.
MARIA: If only I could.
ERUNDINA: If you hide yourself, if you hide yourself like a stupid girl, you’ll never get there.
MARIA: I always see what’s there in front of me.
ERUNDINA: Which is why you’re always in the dark.
MARIA: You think so?
ERUNDINA: I do.
MARIA: Then I am what I am.
ERUNDINA: So short-sighted. Remember no one can avoid the truth.
MARIA: It feels as if it’s going to rain.
ERUNDINA: I’ve had enough. You are driving me crazy. You stick in my throat.
MARIA: Is that the way to speak to your mistress? You told me a lie, Erundina. I don’t believe you went to a convent school. I shall have to take charge of my children’s education.
ERUNDINA: Take charge?
MARIA: I think so, yes.
ERUNDINA: But, Maria ...
MARIA: They shan’t be exposed to all this nonsense. I’ll see to it myself. (Looking at her scornfully.) Let’s change the subject. I’ll call Señorita Amparo. She will receive new instructions. (She produces a whistle from her bosom, as well as a sprig of basil. She crosses herself.)
Domestic affairs are such a problem. (She blows the whistle.)
ERUNDINA: (As if she were talking to someone else.) What is this woman trying to do? (In a confidential tone of voice.) It was me ... this half-starved person you see here ... who washed her nappies when she was still a baby. It was me ... because her mother died in childbirth, and because my poor Evaristo had a heart of pure gold and was her father’s friend ... He said to me: ‘Put her in her cradle, bring her here, and raise her up to be a good woman.’ And there she was, so tiny, and there was me feeling so sorry for her ... (Change of tone.) Has she gone crazy?
- Copyright
-
The above sample taken from the translation Medea in the Mirror (2004) by Gwynne Edwards is licensed under a Creative Commons License.
Entry written by Gwendolen Mackeith. Last updated on 18 June 2012.
