A morte e a donzela (1997)

Dorfman’s play addresses the institutionalized violence of themilitary dictatorships which used torture as a tool for control and coercion, deeply marking the people of Latin America and their history. The play features three characters connected by political repression and torture: a husband, a wife who has been tortured, and an alleged torturer. Ói Nóis Aqui Traveiz’s staging continues their research into the teatro de vivência, and demonstrates the anguish experienced by Brazilians, Chileans, and all Latin Americans who lived through the late twentieth century, with the end of the military regimes: How can repressors and repressed live on the same earth, share a same table? How to heal a country traumatized by fear? The play explores not only the themes of torture, justice, fear, and healing, it also raises a series of questions: How to tell the truth if the mask we wear is identical to our face? How can we tell if our memory is saving or deceiving us? How to keep our innocence in an evil and corrupt world? Can we forgive those who have perpetrated terrible damage upon us?


Permanent URL: http://hdl.handle.net/2333.1/s7h44mdp

Additional Info

  • Title: A morte e a donzela
  • Alternate Title: Death and the Maiden
  • Holdings: video (HIDVL)
  • Duration: 01:50:00
  • Language: Portuguese
  • Date: 1997
  • Location: Porto Alegre, Brazil
  • Type-Format: play, performance
  • Cast: Julio Saraiva, Paulo Flores, and Tânia Farias, performers
  • Credits: Play by Ariel Dorfman; Collective creation by Ói Nóis Aqui Traveiz; Rogério Lauda, music; Beatriz Britto, research; Gustavo Nakle, Isabella Lacerda, Paulo Ferreira, Pedro Rufino, and Tânia Farias, installation; Julio Saraiva and Sandro Marques, lighting; Alexandre Garcia and Perseu Pereira, sound and music.
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