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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This Is A New Release Of The Original 1920 Edition.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1920 edition. Excerpt: ... THE WITCHES' MOUNTAIN (La Montana de Brujas) A TRAGEDY IN THREE ACTS By JULIO SANCHEZ GARDEL PERSONS OF THE PLAY Leon Don Tadeo Inda Daniel Juan De Dios Zoila Tobias Camposanto Piquillin Lupipa RUPERTO Musicians and Guests SETTING FOR ALL THREE ACTS A lonely ranch in the Andes. On the left, down stage, is the entrance to the cook-house. Up stage, on the left, is the entrance to Inda's cabin. On the right, down stage, is another cabin, Don Tadeo's. Farther up stage is the men's dormitory. Behind this can be seen part of the foliage of a carob tree. A background of mountains. The landscape is desolate, somber, rough, forbidding. Rocks of all shapes and sizes dominate the scene. Strewn about the stage are tools, lassos, saddles, bridles, saddle pads, harness bells, harness, etc., etc. There is a small rustic table and two or three old straw chairs. THE WITCHES' MOUNTAIN ACT ONE Dawn is breaking. PiQUiliiN enters from the dormitory rubbing his eyes, crosses to and enters the cook-house; after a moment he reappears, carrying two buckets and goes out, up stage, to the right. After a little Daniel enters from the cabin on the right, crosses the stage, and disappears, up stage, to the right. He is followed in turn by Juan De Dios from the dormitory and Inda from her cabin. It is now full daylight. Tobias enters from the left, sits beneath the eaves of Tadeo's cabin, and begins to braid a lasso. A moment later Zoila enters from the cook-house, sifting corn. Zoila. Up and at work so early! Tobias. I'm in a hurry to finish braiding this lasso. Zoila. Who is it for? Tobias. You can be sure it's not for Leon. Zoila. Is it for Daniel? Tobias. The same. He left his down below, and so Don Tadeo wants me to make him one out of the best horsehide. Seeing...

One of Latin America's most important and prolific writers, Griselda Gambaro has focused on the dynamics of repression, complicity, and violence--specifically, the terror of violent regimes and their devastating effects on the moral framework of society. Information for Foreigners is a drama of disappearance, an experimental work dealing with the theme of random and meaningless punishment in which the audience is led through darkened passageways to a series of nightmarish tableaux. The collection also includes The Walls and Antigona Furiosa.