Ariel Dorfman’s explosively provocative, award-winning drama is set in a country that has only recently returned to democracy. Gerardo Escobar has just been. Dorfman, Schubert, and Death and the Maiden. David Schroeder. Dalhousie University. Follow this and additional works at: In his article, “Dorfman, Schubert, and Death and the Maiden,” David Schroeder suggests that the selection of the play’s title Death and the Maiden () by.

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Death and the Maiden

Comparative Literature and Culture 9. Death and the Maiden is a play by Chilean playwright Ariel Dorfman. Miranda drives Gerardo home and later in the night he returns. Schroeder argues that Dorfman’s thoughtful choice is as much related to the strong parallels between Schubert’s Maiden and Drofman character Paulina Salas, as to Dr. But one does not create such a transgressive play in a country still reeling from many years of pain without suffering the consequences oneself.

A maidden production was staged and opened in Santiago, Chileon 10 March When Gerardo comes back from a visit to the president, he gets a flat tire. My goals were far more modest. Miranda stops to assist him.

The dictatorship that plagued her land has just fallen, and everything is uncertain.

Death and the Maiden (play) – Wikipedia

For other uses, see Death and the Maidej disambiguation. Twenty years ago, when Death and the Maidenthe play that tells this story, opened in London at the Royal Court Upstairsthe country where that woman, Paulina, awaited a constantly delayed justice, was my own Chile or the Argentina mwiden I was born.

By using this site, you agree to the Terms of Use and Privacy Policy. The rapist doctor played Schubert ‘s String Quartet No.


Her husband, a lawyer in charge of a commission investigating the deaths of thousands of dissidents under the previous regime, must defend the accused man because without the rule of law the transition to democracy will be compromised; if his wife kills that doctor, the husband will not be able to help heal a sick and wounded land.

Royal Maidrn Theatre London. So many societies that back then were being torn by the question of what you do with the trauma of the past, how to live side by side with your enemies, how to judge those who had abused power without destroying the fabric of a reconciliation necessary to move forward.

The dictator was no longer in power, but his influence, his disciples, his corrupting shadow invaded every aspect of political life. The Australian premiere production of Maiiden and the Maiden took dorfmqn on 16 December It seemed to me the obligation of a writer deatg to force the country to look at itself, at what all those years of mendacity and dread had wrought. In fact, at the end of the play, as Schroeder argues, it is Schubert’s music from the quartet that has the final say.

At the end of the play it is unclear who is innocent. In his article, “Dorfman, Schubert, and Death and the Maiden,” Ddorfman Schroeder suggests that the selection of the play’s title Death and the Maiden by Ariel Dorfman is a careful one.

Death eorfman the Maiden film. Death and the Maiden plunged its finger into the wound of Chile by showing that the executioners were among us, smiling on the streets but also interrogated the democratic elite, wondering what ideals they had forced themselves to sacrifice. I t happened yesterday but it could well be today. Schroeder proposes that it is not only that the title of the piece comes directly from Franz Schubert’s String Quartet in D minor, so named because it uses material from the song of the same name as the theme for the second movement.


An opera based on the play has been composed by Jonas Forssell with the libretto by Ariel Dorfman. The elite of Chile hated what I had done, reviled it. I can’t help but ask if 20 years from now I will be writing this phrase all over again: Unconvinced of his guilt, Gerardo acts as Roberto Miranda’s lawyer and attempts to save his life. Just as today in Egypt or Russia, for that matterthose who had benefitted from decades of privileges and oppression continued to occupy enclaves from where they controlled the economy, the judiciary, the military, and threatened to return and murder and plunder and banish.

Thrilled, yes, but it is also sobering to realise that humanity has not managed to learn from the past, that torture has not been abolished, that justice is so rarely served, that censorship prevails, that the hopes of a democratic revolution can be gutted and distorted and warped. I’m thrilled that the relations between men and women that I explored, the intricacies of memory and madness, the aftermath of violence, the uncertainty of truth and narrative, continue to capture the imagination of so many.

But what my compatriots did not want for themselves was celebrated by the world. A woman awaits the return of her husband as the sun goes down.