Death and the Maiden Ariel Dorfman

The audience is never certain if she kills Roberto or not, or even if he was in fact guilty. He is the only one who truly knows whether he was guilty or innocent, he is the only one who can resolve the past. While Paulina is talking about the corrupt judges in Pinochet’s regime, she becomes very upset; Gerardo tries to confort her, saying ”Paulina, Paulina. Roberto does a complete shift of opinion in the space of a few lines of conversation.

The interaction between Paulina and Gerardo symbolizes the conflict between the present government/society in Chile trying to function with the horrible injustice and oppression of the past that have not been righted or even come to terms with. Although she does not show it, Paulina is questioning too. Dorfman himself says, commenting on Death and the Maiden,

As I watched with fascination how the [Rettig] commission carried out its difficult task it slowly dawned on me that here might be the key to the unresolved story that had been buzzing inside my head for so many years: the fictitious kidnapping and trial should occur, not in a nation under the boot of a dictator, but in one that was in transition to democracy, where so many Chileans were grappling with the hidden traumas of what had been done to them while other Chileans wondered if their crimes would now be revealed. One of the most fundamental aspects of Gerardo is that his personality seems indefinable. Dorfman describes this conflict of interests,

In order to avoid chaos and constant confrontation, a new government had to find a way of not alienating Pinochet supporters who continued occupying significant areas…. Through Roberto’s character, Dorfman reminds us that not just victims and judges live in the new government in Chile, but also the accused. s embody part of Chile itself, Chile is a Victim, living in the past; Chile is an uncertain judge, trying not to sacrifice present stability by bringing up the demons of the past; Chile is the accused, standing trial for past crimes.

The way Gerardo treats Paulina is a characterization of how Dorfman feels Chile is dealing with its past.

Paulina’s interaction with Roberto identifies him as a symbol for Truth, the best tool to heal the past. You’d have to take care of me all over again…. Although Paulina seems sure of Roberto’s guilt, his fervent denial gives doubt of his guilt to both Gerardo and the audience.