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Two events gave birth to this play: the 1998 arrest of Augusto Pinochet by the Spanish courts and the 1995 death of Aguirre’s uncle, who drank himself to death on Vancouver’s skid row, never living to make a victorious return to his country. It has taken decades of silence for Aguirre to understand and come to terms with her family’s experience as refugees and exiles: “The Two events gave birth to this play: the 1998 arrest of Augusto Pinochet by the Spanish courts and the 1995 death of Aguirre’s uncle, who drank himself to death on Vancouver’s skid row, never living to make a victorious return to his country. It has taken decades of silence for Aguirre to understand and come to terms with her family’s experience as refugees and exiles: “The few times we spoke about it to other people, we were accused of being pathological liars and being crazy,” she says of those years. “We learned never to talk about what was happening in Chile. From the moment when I told some classmates very matter-of-factly in grade two that my stepfather and some of my family members had just come out of a concentration camp that was the national soccer stadium, I was Crazy Carmen.” Laid bare in the ?ctionalized autobiographical details of The Refugee Hotel are the universal truths the victims and survivors of political oppression continue to experience everywhere: the terror of persecution, arrest and torture; the exhausted elation of escape; the trauma of learning to live again with the losses, betrayals and agonies of the past; the irrational guilt of the survivor—even the tragedy of surviving the nightmares of the past only to have them return to challenge any hope of a future. Set in a run-down hotel in 1974, only months after the start of the infamous Pinochet regime, eight Chilean refugees struggle, at times haplessly, at times profoundly, to decide if ?eeing their homeland means they have abandoned their friends and responsibilities or not. More than a dark comedy about a group of Chilean refugees who arrive in Vancouver after Pinochet’s coup, this play is Carmen Aguirre’s attempt to give voice to refugee communities from all corners of the globe.


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Two events gave birth to this play: the 1998 arrest of Augusto Pinochet by the Spanish courts and the 1995 death of Aguirre’s uncle, who drank himself to death on Vancouver’s skid row, never living to make a victorious return to his country. It has taken decades of silence for Aguirre to understand and come to terms with her family’s experience as refugees and exiles: “The Two events gave birth to this play: the 1998 arrest of Augusto Pinochet by the Spanish courts and the 1995 death of Aguirre’s uncle, who drank himself to death on Vancouver’s skid row, never living to make a victorious return to his country. It has taken decades of silence for Aguirre to understand and come to terms with her family’s experience as refugees and exiles: “The few times we spoke about it to other people, we were accused of being pathological liars and being crazy,” she says of those years. “We learned never to talk about what was happening in Chile. From the moment when I told some classmates very matter-of-factly in grade two that my stepfather and some of my family members had just come out of a concentration camp that was the national soccer stadium, I was Crazy Carmen.” Laid bare in the ?ctionalized autobiographical details of The Refugee Hotel are the universal truths the victims and survivors of political oppression continue to experience everywhere: the terror of persecution, arrest and torture; the exhausted elation of escape; the trauma of learning to live again with the losses, betrayals and agonies of the past; the irrational guilt of the survivor—even the tragedy of surviving the nightmares of the past only to have them return to challenge any hope of a future. Set in a run-down hotel in 1974, only months after the start of the infamous Pinochet regime, eight Chilean refugees struggle, at times haplessly, at times profoundly, to decide if ?eeing their homeland means they have abandoned their friends and responsibilities or not. More than a dark comedy about a group of Chilean refugees who arrive in Vancouver after Pinochet’s coup, this play is Carmen Aguirre’s attempt to give voice to refugee communities from all corners of the globe.

30 review for The Refugee Hotel

  1. 4 out of 5

    Salar.Khoshkhu

    • #هتل_پناه‌جویان نمایشنامه‌ای است در دو پرده و یک موخره که به موضوع مهاجرت، آن هم از نوع اجباری می‌پردازد. هتل پناهجویان از کودتای پینوشه علیه آلنده شروع می‌شود و مهاجرت گروهی از انقلابیون به کانادا. کتاب مملو از تضادهایی است که بتواند کمدی سیاه حاکم بر آن را شکل دهد، تضاد بین شیلی و کانادا، پینوشه و آلنده، حتی تضاد بین دو انقلابی که زن و شوهرند، یکی شجاع و دیگری ترسو.هتل پناهجویان کمدی سیاهی است در مورد پناهجویان شیلیایی که در سال۱۹۷۴به ونکوور کانادا مهاجرت می‌کنند و در مدرن‌ترین هتل آنجا اقامت • #هتل_پناه‌جویان نمایشنامه‌ای است در دو پرده و یک موخره که به موضوع مهاجرت، آن هم از نوع اجباری می‌پردازد. هتل پناهجویان از کودتای پینوشه علیه آلنده شروع می‌شود و مهاجرت گروهی از انقلابیون به کانادا. کتاب مملو از تضادهایی است که بتواند کمدی سیاه حاکم بر آن را شکل دهد، تضاد بین شیلی و کانادا، پینوشه و آلنده، حتی تضاد بین دو انقلابی که زن و شوهرند، یکی شجاع و دیگری ترسو.هتل پناهجویان کمدی سیاهی است در مورد پناهجویان شیلیایی که در سال۱۹۷۴به ونکوور کانادا مهاجرت می‌کنند و در مدرن‌ترین هتل آنجا اقامت می‌کنند. کتاب نگاهی است بی‌محابا به مسائلی هم‌چون تبعید، شکنجه، گناه و خیانت.هتل پناهجویان نمایشی است در باب عشق و قدرت التیام‌بخشش که این ایده‌ی نویسنده در موخره‌ی کتاب متلبور می‌شود، موخره‌ای که انقلابیون به دو بخش تقسیم می‌شوند، نجات‌یافتگان به خاطر عشق و مضمحلینی که عشق را درک نکرده‌اند، در کتاب بارها و بارها با لحظاتی مواجه می‌شویم که وادار می‌کند درباره‌ی چیستی هستی و حقیقت ذات انسان تامل کنیم ، انسانی که انسان دیگر را شکنجه می‌کند، تبعید می‌کند و در ابعاد بزرگتر سیستم سرمایه‌داری که کشوری را مورد هجمه قرار می‌دهد تا آن‌چه برایش نظم جهانی است و این خود یک کمدی سیاه است برقرار کند، در جایی از کتاب یکی از شخصیت‌ها می‌گوید،" سوختگی با سیگار. سوختگی با مشعل. شوک با برق. ضربه‌های زیاد به سر. نارسایی قلبی. به هوش آوردن. کشیدن ناخن. تجاوز توسط مردها. تجاوز توسط سگ‌ها. شوک به لثه‌ها. شوک به چشم‌ها. شوک به زبان. شوک به مقعد. شوک به بیضه‌ها. گرسنگی. از دست رفتن آب بدن. کاهش غیرطبیعی دمای بدن. سلول انفرادی. ضربه به سر، خیلی، خیلی، خیلی. و این که هنوز زنده‌ام." و این دقیقا چیزی است که این نمایش به دنبال آن است. ما هنوز زنده‌ایم و آنچه قرار است بماند توده‌ است. شاید باید به این جمله بیشتر فکر کنیم که، هر آنچه سخت و استوار است دود می‌شود و به هوا می‌رود. این کتاب را #مازیار_نیستانی ترجمه کرده و در #مانیاهنر منتشر شده است.

  2. 5 out of 5

    Sarah Marika

    Clear, clarity for now.

  3. 5 out of 5

    Risa

    3.5/5

  4. 5 out of 5

    Sally Simpson

    I thoroughly enjoyed this thought provoking play.

  5. 5 out of 5

    نیما فردوسی

    چقدر پناهجویان در همه دنیا شبیه همند. استعاره‌ای که در حال خواندن این کتاب به ذهن من می‌رسید حیوانات اگزاتیکی بودند که به سرزمینی کهملا متفاوت آورده می‌شوند و هر آنچیزی که در سکونت قبلی و فعلی آنان را برآشفته می‌کرد، حالا موضوع تماشا و دلسوزی می‌شود

  6. 5 out of 5

    Joseph (Manny) Heilman

  7. 4 out of 5

    Adam Richter

  8. 5 out of 5

    Luis Bolland

  9. 5 out of 5

    Louise K. Kligman

  10. 4 out of 5

    James Underwood

  11. 5 out of 5

    Adrienne

  12. 4 out of 5

    Elinaz Ys

  13. 5 out of 5

    Janika

  14. 4 out of 5

    Dr.

  15. 5 out of 5

    Veronica

  16. 5 out of 5

    ali

  17. 5 out of 5

    Beatriz Cordeiro

  18. 4 out of 5

    Alexander

  19. 4 out of 5

    MRKH

  20. 5 out of 5

    Chloë

  21. 4 out of 5

    Meysam

  22. 5 out of 5

    Catie Hickman

  23. 4 out of 5

    Chanpheng

  24. 5 out of 5

    Matt Jones

  25. 5 out of 5

    Jasmine Mrenica

  26. 5 out of 5

    Lindsey Oliveira

  27. 5 out of 5

    Tanya Marquardt

  28. 4 out of 5

    Samantha

  29. 4 out of 5

    Rohan Paul

  30. 5 out of 5

    Juan

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