Barataria The publisher has published the play, Hilda , the talented author Marie NDiaye French , one of the most subversive voices and committed to the current narrative of this country. His peculiar way of understanding literature, to digest, enabled to receive, in 2009, one of the most important awards and prestigious Gauls, the Goncourt, with the publication of Three strong women (Cliff, 2010), work in which the author offers the stories of three women survivors, and on which empties directly echoed his thought, the same as that paid special attention to poor people and uprooted, those who are victims silence, be it of whatever nature. Hilda
is the first play I wrote the author, in 1999, and I sense that this title is largely responsible for NDiaye Marie is the only living writer whose play has been included in the repertoire of the Comédie Française, but I suspect also that the merit of Hilda is not here. Through six events, with accurate and incisive dialogue and a strong ideological perspective, Hilda produces a chilling portrait of the social situation in French society, a portrait that allows the reader quite a geography project true of immigration, human misery and destitute on the European continent, a geography that inevitably passes for reflection on the fear of others, on how an immigrant becomes an object or currency, on how to become a simple property, a strong reflection on the condition of the contemporary individual. NDiaye
decides not to stay out of the various events that have shaken French society over the past two decades, to denounce, being aware of the power of words, the situation of immigrant women in this country. And he uses the figure of Madame capricious and merciless Lemarchand (person of great psychological and social complexity), an upper middle-class woman who wields power over his servant, a power that will have devastating effects on the life and identity to Hilda, who from the moment you enter part of the house Lemarchand fades between words that oppress and suffocate, between words that tell how should think, talk or dress. Words that remind you, again and again, it is another object.
No big tricks, big words even without drawing great ideas, NDiaye shows the reader what happens to the other side of the screen, that we sometimes forget that is real and happening, terrible situations on do not think that until someone does not, has or tells.
is the first play I wrote the author, in 1999, and I sense that this title is largely responsible for NDiaye Marie is the only living writer whose play has been included in the repertoire of the Comédie Française, but I suspect also that the merit of Hilda is not here. Through six events, with accurate and incisive dialogue and a strong ideological perspective, Hilda produces a chilling portrait of the social situation in French society, a portrait that allows the reader quite a geography project true of immigration, human misery and destitute on the European continent, a geography that inevitably passes for reflection on the fear of others, on how an immigrant becomes an object or currency, on how to become a simple property, a strong reflection on the condition of the contemporary individual. NDiaye
decides not to stay out of the various events that have shaken French society over the past two decades, to denounce, being aware of the power of words, the situation of immigrant women in this country. And he uses the figure of Madame capricious and merciless Lemarchand (person of great psychological and social complexity), an upper middle-class woman who wields power over his servant, a power that will have devastating effects on the life and identity to Hilda, who from the moment you enter part of the house Lemarchand fades between words that oppress and suffocate, between words that tell how should think, talk or dress. Words that remind you, again and again, it is another object.
No big tricks, big words even without drawing great ideas, NDiaye shows the reader what happens to the other side of the screen, that we sometimes forget that is real and happening, terrible situations on do not think that until someone does not, has or tells.
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