The Play (Masterplots II: Drama, Revised Edition)
On April 6, 1975, Paulina Salas, then a university student, was abducted by agents of her country’s right-wing government. For more than two months, she became one of Latin America’s many “disappeared”; she was interrogated, tortured, and raped in order to elicit from her the name of a leader of the leftist opposition: Gerardo Escobar, then her lover, later her husband. The play takes place fifteen years later, just hours after Gerardo has been appointed head of the new, democratically elected government’s Truth and Reconciliation Commission. The commission is charged with investigating those human rights abuses by the previous government that resulted in the death, or the presumption of death, of the victim. After waiting fifteen years for justice, and after years spent nursing the physical and psychological wounds that have left her pathologically apprehensive and unable to enjoy sex or bear children, Paulina views Gerardo’s appointment as a vindication of the pain she endured but also a mockery of her suffering: The commission’s mandate demands that victims’ pain remain private and the wrongs they suffered unheard and unredressed.
The fear with which Paulina responds to the sound of an unfamiliar car pulling up to the couple’s isolated beach house at the beginning of the play establishes the fragile nature of both her emotional state and the newly elected government. The fragility of her marriage is established as Gerardo blames her for the indignity, vulnerability, and loneliness of being stranded on the way home after his meeting with the president. He holds Paulina responsible not because of his punctured tire but because she had failed to have the spare repaired and had loaned their jack to her mother. Fortunately, a good Samaritan, the medical doctor Roberto Miranda, stopped and drove him home. The marital tension increases as Paulina in turn accuses him of lying to her, pretending to “need” her approval, her “yes,” before accepting the commission appointment that he has already accepted.
Late that night, Gerardo and Paulina are awakened by a knock at their door—just the kind of knock they feared during the earlier regime’s reign of terror, and continue to fear. However,...
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Dramatic Devices (Masterplots II: Drama, Revised Edition)
The effectiveness of Death and the Maiden derives from Dorfman’s combining elements from a wide range of dramatic forms to create a wholly successful and typically (if unobtrusively) postmodern form of political theater. Critical of those who have extolled Jorge Luis Borges, Gabriel García Marquez and others as consummate metafictionists and Magical Realists while downplaying, even eliding, South American political realities, Dorfman here (and elsewhere in his writing) uses postmodern techniques to political advantage in a play in which parodic recycling underscores rather than undermines the work’s dramatic intensity and political urgency. Thus in this play (and elsewhere in his writing) Dorfman uses postmodern techniques to political advantage, parodying his contemporaries to underscore, rather than undermine, the work’s dramatic intensity and political urgency.
Death and the Maiden is at once a whodunit and a psychological thriller. It is a problem play in the Henrik Ibsen tradition but just as clearly a revenge drama in the Elizabethan mold, with a touch of the film Fatal Attraction (1987). The three-act structure creates a momentum and sense of inevitability worthy of classical tragedy but lacks any anagnorisis (recognition) or catharsis. Instead of purging the emotions and restoring order, Death and the Maiden raises questions and introduces uncertainty at every level, probing such issues as honesty in...
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Compare and Contrast
Topics for Further Study
What Do I Read Next?
Bibliography and Further Reading
Bibliography (Masterplots II: Drama, Revised Edition)
Sources for Further Study
Barsky, Robert F. “Outsider Law in Literature: Construction and Representation in Death and the Maiden.” SubStance 26 (1997): 66-89.
Dorfman, Ariel. Afterword from Death and the Maiden. New York: Penguin, 1994.
Gregory, Stephen. “Ariel Dorfman and Harold Pinter: Politics of the Periphery and Theater of the Metropolis.” Comparative Drama 30 (Fall, 1996): 325-345.
Morace, Robert A. “The Life and Times of Death and the Maiden.” Texas Studies in Literature and Language 42 (Summer, 2000):...
(The entire section is 94 words.)