The control surrounding the execution of domestic violence is evident in these opening lines but the idea of control also manifests itself through the ongoing impact of the domestic abuse, even after Joyce separated from her husband, because the aftermath of violence continues to govern her experience in her afterlife. In scene six, after the character of the Woman states explicitly that Joyce is dead, Joyce suggests that the pain to her head was a brain haemorrhage which caused her death at the very beginning of the play. It implies that, due to the repetition of this violence, Joyce could always predict it and knew what to expect: despite the fact that it completely violated her safety, her rights and her happiness, there were rules which governed the domestic attacks, unlike the unpredictable and unexpected violence of the pain to her head. This comment also implies a sense of integrity and purpose associated with the violence committed by Joyce’s husband and other men, thus forming a link between men and a type of violence that is both controlled, and used to control others. Her previous experience of abuse becomes a point of comparison and in this way, the playwright indicates the significance of repeated acts of violence on the physical and mental wellbeing of the protagonist. This blow came as if from behind, treacherously… It was like a knitting needle nailed into my skull with a hammer…(4-5) Strange because it was so sudden… like: bam! … I did a quick comparison with the blows I used to get from husband… No… This hurt more… My husband always faced me when he hit me, like a man. The last I remember is a headache… an overwhelming, staggering pain.
Éste golpe fue como por atrás, a traición… Era como una aguja de tejer clavada con un matillo… Insólito por lo repentino…Así: ¡stuc!… Hice una rápida comparación con los golpes que me daba mi marido… No…éste dolía más… Mi marido me pegaba de frente, como un hombre. Lo último que recuerdo es un dolor de cabeza… Un dolor absurdo de tan grande. The experience of abuse is brought to light in Joyce’s opening monologue during which she tries desperately to describe, understand and remember what she was doing before a sudden pain to her head occurred: This dramatic artifice also serves to establish a sense of intimacy and proximity between audience and actors which is enhanced through the performance because what the audience witness in the theatre is immediate, transient and unique. The play is set in the enclosed space of Joyce Vincent’s living room and the playwright uses the artifice of the private to provide an insight into the protagonist’s afterlife. Some aspects of the experience of the protagonist of Bailando sola coincide with the story of the real Joyce Vincent, in particular both women experienced domestic violence with their ex-husbands. Raquel Diana dramatizes Joyce’s death by ascribing actions, gestures, words and songs to the period of time about which it is practically impossible to ascertain any details that is the period of time between her death and the discovery of her corpse. The play presents an imagining of Joyce Vincent’s experience of death. Her body was discovered in her flat in Wood Green, North London, in February 2006 when local authorities entered in order to investigate rent arrears. īailando sola takes as a starting point the true story of the death of a woman in London, Joyce Vincent, who was found dead, slumped in front of her TV, having remained there for approximately two and a half years. The text was published by Editorial Yaugurú in 2013 and this edition was awarded second prize in the drama category in the Premios Nacionales de Literatura del Ministerio de Educación y Cultura del Uruguay in 2015.
ESTA SOLEDAD NOS VAMOS BAILANDO SONG FULL
In 2013 the play was selected for inclusion in the series of rehearsed readings held at the Asociación General de Autores del Uruguay in Montevideo and organised in conjunction with the Escuela Multidisciplinaria de Arte Dramático (EMAD), and it has not yet had a full production. In 2010 the play was awarded the first prize for Theatre (Comedy) in the Premios Anuales de Literatura del Ministerio de Educación y Cultura del Uruguay. This article focuses on the process of translating Bailando sola cada noche written by Uruguayan dramatist Raquel Diana in 2008. Distance and Proximity in Analysing and Translating Bailando sola cada noche (Dancing alone every night)
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