Click on web-link below to see the Part A of the dramatic monologue performed by Dr.Mark Amerasinghe:-
To see Part B of the Dramatic Monologue. Click on the web-link below:-
To see Part B of the Dramatic Monologue. Click on the web-link below:-
GABRIEL GARCIA MARQUEZ (Affectionately known as ‘Gabo’}
Gabriel Garcia Marquez, a Colombian by birth, was studying law which he abandoned for journalism. His first writings were as a journalist. He then went on to writing short stories and film scripts. He finally went on to producing major works of fiction which made him a much read and world-famous writer of fiction. In 1982 he was awarded the Nobel Prize for literature.
He had such an impact on the reading public all over the world, that when he passed away at the age of 87 in April this year (2014) the Colombian President said, “He was the greatest Colombian that ever lived”.
He and Fidel Castro were friends; an acquaintance he described as an ‘intellectual friendship’
His best known works are, One Hundred Years of Solitude, The Autumn of the Patriarch and Love in the Time of Cholera
Among lovers of literature his name will always be associated with the two words; ‘magical realism’, a style of writing in which the prevalent magic and superstition were woven into the fabric of the everyday life of the people of the Caribbean.
Salmon Rushdie writing on the occasion of his death commenting on ‘magical realism’, stated “the critical aspect that needs emphasis, is the word realism.”
The Chronicle here presented is probably his slimmest volume. A work, which however, is certainly not slim in the powerful impact it has on readers, including the presenter of this monologue.
“CHRONICLE OF A DEATH FORETOLD”
BASED ON GABRIEL GARCIA MARQUEZ’S NOVELLA (published in 1981)
This tale of murder, in the name of honour, is told by a narrator (a close associate of the murder victim),who twenty years after the crime opens his own investigation into that premeditated, brutal murder, which occurred in open daylight, in the square, with the whole town looking on.
About this work, a well-known critic says,’ the story unfolds in an inverted fashion. Instead of moving forwards, the plot moves backwards’. There is no question of ‘who did it’? The names of the victim and that of his murderers are revealed at the very beginning.
That the brothers Vicario were planning to kill Santiago Nasar was known, well in advance, to the whole town; except for Santiago Nasar and his mother. Yet not a finger was raised to avert this senseless murder.
The narrator talks to anyone he believes could shed light on what really happened before and during this brutal act, so that he could try to answer a question that has haunted him ever since that fateful day. The question is ‘Who really killed Santiago Nasar’?
Speaks of the problem of writing the script for ‘The chronicle’
'I had read Garcia Marquez’s ‘Chronicle of a Death Foretold’ in translation from the Spanish into English and was greatly impressed by this novella. By the time I read this work I had already translated four French works into English and scripted and presented them as monodramas. I felt that the ‘Chronicle’ was an ideal work to be presented similarly. In the monodramas I had presented I had always translated the French work myself(although English translations were available) because I always had the very strong belief that no translation could match the original, in conveying the full essence of the latter, and translating the work myself compelled me to delve deep into the heart of the original work.
In this case I was in no position to translate the original because I did not know the Spanish language. While an English translation was available, I did not want to use it, because there is very little relationship between English and Spanish. So, I thought, I could get closer home by translating the French version which would be more closely related to the Spanish version of the work, into English and making my first rough draft from this, using the practised techniques explained in my article on the monodrama.
Now with dictionary in hand I went through the original Spanish version paying particular attention to those parts I had included in the script. I am aware that this falls short of my usual aim, but I was so keen on presenting this work, that I had to resort to a ‘ruse’.
So here is the script I have come up with'.
Santiago Nasar:The Murder Victim
Bayardo San Roman: The Cheated Bridegroom
Angela Vicario: The Discarded Bride
Pablo and Pedro Vicario: The Avenging Twins, Brothers of Angela Vicario
Pura Vicario: Angela’s Mother
Prudentia Cotes: Pablo Vicario’s fiancée
Clotilda Armenta: Proprietess of provisions store
Maria Alexandrea Cervantes: Proprietess of the House of Mercy
Faustino Santos: Butcher
Victoria Guzman: Cook in Santiago Nasar’s household
Divina Flor: The cook’s daughter
Placida Lenora: Santiago Nasar’s Mother
Flora Miguel: Santiago’s fiancée
Nahir Miguel: Flora’s father
Cristo Bedoya: Santiago’s closest friend
The Narrator: Close friend of Santiago
Yamal Shauim, Indalecio Pardo: Friends of Santiago
Colonel Lazaro Aponte: Mayor
Fr Armador: The Local Priest
Margot: The Narrator’s Sister
Poncho Lanao: Neighbour of Santiago
Winifreda Marquez: Narrator’s Aunt
Buenas noches y gracias senors y senoras! It is good of you to have turned up here on the square, at such short notice, to meet me before I leave . You all know why I came back to this town after over twenty years. I had to. I had to find out what really happened on that Monday. Each one of us knows something , a little fragment maybe, a fragment of direct experience or just something we’ve heard from others. But no one, not one of us has the full picture. And that has been my aim over the years: to piece together those fragments of our remembrances, dimmed perhaps or yet still strikingly vivid, fractured maybe, but yet sharp enough to impinge upon the story, hopefully complete, that I had to write.
I have asked you to gather here this evening, on this square, in the very theatre in which we all sat or stood and watched the final act of that drama, so that I could present to you my completed chronicle of that death foretold.
The killing of Santiago Nasar will for long remain the most celebrated murder of our time, a murder which followed directly upon the most celebrated wedding our town had ever witnessed; the wedding of Bayardo San Román and Ángela Vicario. Never has this town seen a death more foretold. Never has there been a death more tragic and more avoidable. Never have so many people been so privy to the imminence of an impending tragedy, and yet, been so helpless to deflect the course of events.
A few hours after that much talked of wedding had been celebrated in all its grandeur and exaggerated revelry, Bayardo San Román returned his wife Angela Vicario to her parents, on the grounds that she was not a virgin.
We all knew, hours before the deed, that the Vicario brothers were waiting to kill Santiago Nasar, because it was he, their sister said, who had been responsible for the loss of her virginity. Only two people were ignorant, until the last moment, of the looming tragedy: Santiago Nasar and his mother Placida Linero.
. Santiago Nasar, was a happy-go-lucky, peace loving and good-hearted fellow. Who was privileged to have, at the early age of 21, a fortune of his own. He loved parties, and the greatest joy he experienced on the eve of his death was in calculating the expenses of that unforgettable wedding.
Santiago Nasar was also a full-blooded young man who never let up an opportunity of laying his roving and carnivorous hands on the freshly blossomed out Divina Flor, daughter of Victoria Guzman, the cook. That Monday morning, the morning he was killed, as she opened the door for him to leave the house after drinking his coffee, and stepped aside to let him pass, he ‘grabbed my whole lolly-pop’, she told me. ‘He always did, when he caught me alone in the house.’
Well, that was Santiago Nasar!