Death and the Maiden
Sunday, August 6th, 2006Death and the Maiden
August 05, 2006. I was there at Carlos P. Romulo Theater, RCBC Plaza, Makati. Death and the Maiden by Ariel Dorfman was staged by Actors Actors Inc. It starred Bart Guingona, Bituin Escalante, and Michael Williams who were all articulate and fantastic. I first experience AA, I guess two years ago, with ART in Republic of Malate. Since then, I promised not to let an opportunity pass when they have a production. It must be free, of course. Thanks to Mike Lim.
It was a powerful political thriller set somewhere in Latin America. There is a wife. She did not earn a college degree - ravaged and haunted by the torture and rape she encountered 15 years ago. There is a husband, a lawyer, now appointed as the youngest member of the “Truth Commission” by the government. The play opens with the husband and wife arguing about jack and the spare part of a newly bugged down car. The play moves forward with the doctor, who happens to live in a beach house nearby and had helped the husband with his car along the way, coming in to their place in the middle of the night. He congratulates the husband; he believes the lawyer is the right person for the commission.
He stayed for the night and woke up tied up by the wife – ready to kill with her gun. What follows is a series of arguments (in graduate class, it was taught that in drama, every line must be an argument). The wife recognized the doctor – with his voice, skin, and smell – that it was he who raped him 15 years ago. The doctor, of course, dismisses her as crazy. So is the husband who strongly believes that compromise and forgiveness are the necessary actions for a person, for a country to be able to move on. A dose of truth could tear apart a family, a country. The wife, however, insists that the doctor must confess. Only then, and he can go, yet she tried to kill him. She argues that in doing so, she can be free to listen to Schubert, her favorite composer, so is by the doctor. The doctor refutes that in doing so, the cycle of violence goes on.
The play closes with the husband and wife facing a mirror (instead, they did it with digital camera) to suggests that the actors and the audience are one in their dilemma. Then the wife sees the doctor in the house…
So did she kill him or not?
The play invites argument, dialogue, and meditation: like Gerardo, the husband, do we have to compromise in order to move on? Socialize with our tormentors - shake hand with them, giving them “beso-beso”? Or like the wife (I forgot the name), must we assert that there must justice first before we think of leaping forward?
I thought of including it in my synthesis for World Literature: the similarities in the historical experience of Philippines and Latin America; the power and relevance of literature to delight, shock, and create in us the desire to build a better world. We read Laura Esquivel of Mexico: Like Water for Chocolate.
The play is so timely and relevant. I can imagine how powerful it would be in Filipino. The language is poetic, the dialogues philosophical. The acting was convincing. It was a beautiful afternoon. I left inspired to create but masterpiece. It is with the time and energy one devotes to his/her craft that makes it brilliant. I had with me my laptop so off I went at Starbucks in RP to capture some lines flirting over my “mind’s eye.”