Telif hakları ajansımız tarafından sağlanabilecek olan ve henüz Türkçeye çevrilmemiş bazı oyunları gerek ilgilenebilecek çevirmenlerin, gerekse tiyatroların dikkatine sunuyoruz:
LA CORBATA (THE TIE)
Alfonso Paso
“La Corbata” es la lucha eterna de la clase media. El tema principal es como afecta a las tres clases sociales el embarazo de una hija soltera. La clase alta, no tiene preocupación ninguna. Su dinero y posición social lo puede comprar todo, incluyendo una gran boda. Tampoco causa ningún problema a la clase baja, al pobre. En realidad este no tiene nada que perder, pues no tiene que dar la cara ante nadie ni guardar apariencias ante nadie y una boda es lo que menos les preocupa. La clase media es como siempre la perdedora. Tiene que mantener su pequeña posición social, casar a la hija rápidamente pero con un sueldo mínimo y con deudas por todas partes. A pesar de estar escrita en 1963, esta obra es tremendamente actual, pues los problemas y diferencias de las tres clases son aun en día los mismos.
“La Corbata” explains the eternal fight of the middle class. The main point is how the pregnancy of a single daughter can affect the 3 social classes. The high class has no worries at all. Their money and social position can buy everything including the best and most exquisite wedding of all. There are no problems for the low class either, the poor. They have nothing to lose really since they have nothing to show and no social position, besides, a wedding is none of their worries. On the other hand, the middle class is, as always, the loser. They still have to keep their small social position and have to marry their daughter as fast as possible and with hardly any money and a lot of debts to be covered. Although this play was written in 1963, it is still relevant today, since the problems that separate the 3 classes are still the same.
8 Erkek - 7 Kadın
HONEY
Tove APPELGREN
Det här är en historia om kvinnan som vill ha kontroll, vill vara säker på sig själv, vill fatta de rätta besluten, vill bli sedd av sin mamma och vara en bra mamma själv, som inte vill medge att hon fortfarande framför allt söker sig själv och förtränger det med att söka ”rätt man”.
Den historien berättar Appelgren via Honeys relationer. Den komplicerade mammarelationen finns där som en röd tråd genom hela pjäsen, liksom problemet med att bygga upp en fungerande relation med äldsta dottern Sissela. Men det centrala är ändå berättelsen om hur hon hanterar männen i sitt liv. Eller kanske mera, hur hon misslyckas med att skapa något bestående.
This is a story about the woman who wants control, wants to be sure of herself, wants to make the right decisions, wants to be seen by her mother and be a good mother herself, who does not want to admit that she is still mainly seeking herself and represses it by seeking the “right man”.
That story tells Appelgren via Honey’s relations. The complicated mother relationship is there as a red thread throughout the play, as well as the problem of building up a working relationship with the oldest daughter Sissela. But the central thing is still the story of how she manages the men in her life. Or maybe more, how she fails to create something lasting.
1 Kadın
MINE VENNER (MY FRIENDS)
Monica ISAKSTUEN / Sahneye Uyarlayan : Kjersti HAUGEN
She has just ended it with her best friend with whom she shared everything. She is furious. At home in the apartment, she hears voices from the bedroom. There are all those she has called her girlfriends. They come from different places and phases in her life. It’s her birthday and they give her a surprise party she’ll never forget. One by one, they speak: A little too honestly. Too exposed. A wonderful play based on Monica Isakstuen’s critically acclaimed novel Mine Venner (My friends) about girlfriendship and friendship for better or worse. With a rare mixture of fervour and humor, the play is told in a recognizable and entertaining way about what you cannot say to each other and what neither of us dares to talk about when it comes to friends.
4 Kadın
SE PÅ MEG NÅR JEG SNAKKER TIL DEG (LOOK AT ME WHEN I AM TALKING TO YOU)
Monica ISAKSTUEN
A post dramatic work about the relationship between woman and man, parent and child, victim and offender. The work is divided into two parts that investigate the relations between mother and son, father and daughter. How difficult can it be to be a good parent? – to form another human being? Can you ever be certain that you are showing your child the right path to choose? How would one react, if your child is offending others? – or is being offended? What power structures are we unconsciously reproducing in our children?
1 Erkek – 1 Kadın
USTED PUEDE SER UN ASESINO (YOU CAN BE A MURDERER)
Alfonso Paso
Dos amigos, planean un fin de semana de juerga con dos señoritas de “vida alegre”. Para lo cual, han enviado a sus esposas al chalecito de la sierra.
Todo se complica cuando un cadáver tras otro empiezan a aparecer en el salón de la casa y además, las esposas, a mitad de camino, se dan cuenta de que han olvidado las llaves del chalet en casa y, obviamente, tienen que volver para recogerlas.
Esta es una obra de una carpintería teatral perfecta. Una comedia policíaca perfectamente atada y con un humor negro tremendamente divertido.
Two friends decide to spend a lovely weekend with the company of two girls of dubious character. So the have sent their wives to the summerhouse.
But everything gets very complicated when, one dead body after another begin to show up in their living room. On top of that, the wives realize halfway there, that they have forgotten the keys of the summerhouse and have no other choice but to come back to the apartment to pick them up.
This is a perfect detective’s play. An extremely well built plot perfectly tied up and with an exquisitely timed black humour.
6 Erkek - 3 Kadın
VAMOS A CONTAR MENTIRAS (LET'S TELL LIES)
Alfonso Paso
Julia es una mujer que pasa la vida contando mentiras, lo que achaca a su monotonía y aburrimiento. Continuamente crea situaciones equivocas que desesperan a su marido y a todo el que en ellas se ve envuelto.Pero una Nochebuena, un ladrón, compichado con la criada de la casa, entra a robar las joyas y dinero de la familia. Tras una pelea, este asesina a la criada asestándole un golpe. Julia ve al ladrón y este la amenaza con matarla a menos que le ayude a escapar con las joyas, el dinero y el cadáver. Julia tiene que evitar por todos los medios que su marido y el amigo de este se enteren de todo lo que esta sucediendo. Pero, quien va a creer esta vez todos sus manejos y situaciones inexplicables?
Esta es una de las comedias mas divertidas de Paso y la mas representada mundialmente.
Julia is a woman that spends her days telling lies, which she claims to be the result of her monotony and boredom. She creates continuously wrong situations, that have made life a nightmare for her husband and for all the people that get invariably become involved in her fantasies though no fault of their own. One Christmas Eve, a thief gets into the house with the help of the maid, his girlfriend. Their intention is to steal all the jewels and money and escape with all the loot together. After an argument the boyfriend hits the maid harder than he thought killing her in the act. Julia later is confronted by the thief who promised to kill her as well if she doesn’t help him to get out of the house with the jewels, the money and the dead body. To avoid her own death she has to avoid at all costs that her husband and his best friend will find out all that is happening. But, since she is a well-known liar, who is going to believe her extreme and inexplicable explanations of situations?
This is one of the funniest plays of Paso and the most produced worldwide.
5 Erkek - 3 Kadın