He provides the reader with the detail of the possibility of the setting being in a country in the South American continent, however the most likelihood of the setting would be Chile because of his past personal experience. Dorfman develops each character in a unique way in which they portray each aspect of the Chilean life trying to recover from a dictatorship. Also, he only develops three characters so that the reader can focus on the development of them and can go in depth into the characteristics of each. By using different techniques of characterization, Dorfman portrays Paulina, Gerardo and Roberto in a way which helps the reader form their mindset on whether Roberto is or is not guilty.
The gun becomes both a symbol of power and a symbol of defense for Paulina who being a woman would never be able to physically overpower Gerardo. Thus, keeping a more feminist view in mind, both Gerardo and Miranda represent a male-dominated world where Paulina, the woman, has very few choices and is forced to take a very desperate and dangerous way out, represented by the gun.
Dorfman also shows the reader how this would not normally be way in which Paulina would free herself, shown by her inexperience in handling the gun. The fact that it is a gun that she uses, a weapon that only protects her and harms others shows the reader that she wanted her justice no matter what the cost was to anyone else.
However unlike Paulina, Mother Courage is very well versed with business and this shows us that she has been living like this for a very long time. Another example of this is in Scene 2 when she haggles effectively with the cook over the price of a hen. Mother Courage may seem very business minded with her cart being the only reason to live being her cart; however the reality of the situation is that the cart is just a means of earning money to take care of her children.
When Swiss Cheese is captured she is ready to hand over her cart in exchange, the only reason she bargains for more is the fact that she still ahs a daughter to care for. Taking care of her children probably has a broader societal meaning, it could refer to the protection of the weak and oppressed during the war, this can be further justified by the fact that none of the children share the same father and non of this matters to Mother Courage in whose mind they are all her family, hence, the conventional idea of what a family should be like is completely broken in this way where a cart is what keeps them together.
This can be compared to Gerardo and Paulina who, while married share a very dysfunctional relationship with Paulina ironically being able to tell Roberto more things than she can tell her husband. Although she lives in an age of democracy, the gun in her hand dissolves all such ideas and brings it down to a question of who has the strength to do what they want.
The cart is symbolizes the prosperity and capitalism which democracy is supposed to bring. However, the gun and the cart seem very out of place in their respective environments.
While the ideas seem very contrasting in nature, the common factor is that they both show the reader that nothing is truly perfect or complete; there is no continuity in any form of system, The very fact that it is so difficult shows us that this idea could never be conveyed to the reader through sheer words, the image of the gun and the cart instead paint this picture in our minds.
While very different, both the gun and the cart play very similar roles in each story.
Their importance to the leading characters is unquestionable and the many ideas they reveal, while different, show the reader the same thing.
Hence, it must be said that these items form an integral part of their respective stories. How to cite this page Choose cite format:AS A WHODUNIT, DEATH AND THE MAIDEN FAILS BECAUSE IT AVOIDS COMING SATISFACTORILY trivialization of Ariel Dorfman’s work.” Nichols took a similar approach in his film version of essay, Busiel examines these and other issues.
Death and the Maiden, winner of many awards and also in production worldwide, was made into a Roman Polanski film. Mascara (with son, Rodrigo Dorfman), premiered in Bonn in , and Who's Who (also with Rodrigo Dorfman) premiered in Frankfurt in This paper shows how Ariel Dorfman's play and Roman Polanski's movie, "Death and the Maiden", strongly indicate that Paulina's accusations that the man in her house is the same man who tortured and raped her twenty years earlier.
Death and the Maiden: A Play in Three Acts, Ariel Dorfman, Nick Hern, , , ,. A classic of 20th-century theatre, Death and the Maiden ran for a year in the.
The Death of Law and Literature An Optimistic Eulogy Paul J. Heald I spent last Saturday morning leading a group of federal judges in a vigorous and largely successful roundtable discussion of Ariel Dorfman’s play, Death and the Maiden. Death And The Maiden - Film Vs Essay - The Polanski film Death and the Maiden is a wonderful and intelligent interpretation of Ariel Dorfmans human rights problem play.
Polanski has produced, in this film, an exceptional piece of direction, in which his own personal, emotional input is evident.