Kiss Of The Spider Woman

Kiss Of The Spider Woman

Sometimes they talk all night long. In the still darkness of their cell, Molina re-weaves the glittering and fragile stories of the film he loves, and the cynical Valentin listens. Valentin believes in the just cause which makes all suffering bearable; Molina believes in the magic of love which makes all else endurable. Each has always been alone, and always - especially now - in danger of betrayal. But in cell 7 each surrenders to the other something of himself that he has never surrendered before.

Approaches to Teaching Puig's Kiss of the Spider Woman

Approaches to Teaching Puig's Kiss of the Spider Woman

Manuel Puig's 1976 Kiss of the Spider Woman, translated into English in 1979 and adapted as an Academy Award-winning film, expanded the idiom of the novel (mixing cinema, fiction, romance, and song) and challenged the third-person narration that was dominant in Latin American Boom fiction. Students are drawn to the conversational style of the novel and the melodramatic seductions of the tale, but they need guidance to appreciate the novel's richness as a work of literature. This volume of the MLA's Approaches to Teaching series suggests ways instructors can help students grasp the novel's exploration of state and sexual politics and discern the strategies of narration that underlie the conversations between the two main characters. In part 1, "Materials," the editors discuss versions and translations of the novel, provide readings and resources, give an overview of the historical and political background of 1970s Argentina, and outline the author's biography. The thirteen essays in part 2, "Approaches," written by distinguished scholars of Latin American literature, offer close textual analysis, examine the author's use of cinematic references, and present suggestions for teaching Héctor Babenco's film adaptation alongside the written text.

The Kiss of the Spider Woman

The Kiss of the Spider Woman

Characters: 15 male, 3 female Scenery: Interior Winner of multiple Tony Awards including Best Musical, Kiss of the Spider Woman revamps a harrowing tale of persecution into a dazzling spectacle that juxtaposes gritty realities with liberating fantasies. Cell mates in a Latin American prison, Valentin is a tough revolutionary undergoing torture and Molina is an unabashed homosexual serving eight years for deviant behavior. Molina shares his fantasies about an actress, Aurora (originated on Broadway by Chita Rivera) with Valentin. One of her roles is a Spider Woman who kills with a kiss. "Thrilling."-- N.Y. Times. "Compelling, beautiful, funny and moving....[Has] a cinematic fluidity and a poetic charge."-- N.Y. Daily News. "Creates an entire world out of a prison cell.... Dazzling."-- Newsweek.

Kiss of the Spider Woman and Two Other Plays

Kiss of the Spider Woman and Two Other Plays

Compiled together for the first time, here are three plays by Argentine novelist and playwright Manual Puig: the well-known Kiss of the Spider Woman, a sharply provocative tale of love, victimization, and fantasy, and of the friendship that develops between two strikingly different men imprisoned together in a Latin American jail; Puig's first drama written directly for the stage, Under a Mantle of Stars, a recurring dream that is never ending; and Mystery of the Rose Bouquet, an astute tale of deep compassion and illusion. This is convincing proof that Manual Puig was one of our most talented writers - no matter what the medium. Puig is the author of seven novels, translated into fourteen languages.

Manuel Puig and the Spider Woman

His Life and Fictions

Manuel Puig and the Spider Woman

This is the first biography, now available in paperback, of Manuel Puig (1932–1990), Argentinian author of Kiss of the Spider Woman and pioneer of high camp. Suzanne Jill Levine, his principal English translator, draws upon years of friendship as well as copious research and interviews

The Nickel was for the Movies

Film in the Novel from Pirandello to Puig

The Nickel was for the Movies

The cinephobic novelist who complains to Fitzgerald's tycoon that he will never get the hang of scriptwriting wouldn't give a nickel for the movies. Yet never before the appearance of film had human perception been engaged in such an all-encompassing way by a single art form. In this ambitious investigation of a little-studied narrative genre, Gavriel Moses defines and explores "the film novel," a literary text in which cinema provides the thematic, formal, psychological, and philosophical center. Through close readings of works by the major representatives of the genre--Pirandello, Nabokov, Isherwood, West, Fitzgerald, Moravia, Percy, Puig--Moses develops a suggestive theory of novels that use literature to investigate the central role that film has acquired in human experience. These novels, because of their fascination with filmmaker and spectator alike, and because they anticipate current views of the questions of cinema, remain a tangible presence within the repertoire of literary modernism. Offering insightful discussions of Laughter in the Dark, Lancelot, Kiss of the Spider Woman, and other film novels, Moses shows the depth of the exchange between literature and cinema and illustrates the extent to which the way we tell stories with words has been affected by the movies. His book will be of wide interest to literary scholars, film historians, and students of cinema and the novel. The cinephobic novelist who complains to Fitzgerald's tycoon that he will never get the hang of scriptwriting wouldn't give a nickel for the movies. Yet never before the appearance of film had human perception been engaged in such an all-encompassing way by a single art form. In this ambitious investigation of a little-studied narrative genre, Gavriel Moses defines and explores "the film novel," a literary text in which cinema provides the thematic, formal, psychological, and philosophical center. Through close readings of works by the major representatives of the genre--Pirandello, Nabokov, Isherwood, West, Fitzgerald, Moravia, Percy, Puig--Moses develops a suggestive theory of novels that use literature to investigate the central role that film has acquired in human experience. These novels, because of their fascination with filmmaker and spectator alike, and because they anticipate current views of the questions of cinema, remain a tangible presence within the repertoire of literary modernism. Offering insightful discussions of Laughter in the Dark, Lancelot, Kiss of the Spider Woman, and other film novels, Moses shows the depth of the exchange between literature and cinema and illustrates the extent to which the way we tell stories with words has been affected by the movies. His book will be of wide interest to literary scholars, film historians, and students of cinema and the novel.