Ariel Dorfman’s 1991 play Death and the Maiden is set in the present time in a country that ‘is probably Chile’ but ‘could be any country that has just departed from a dictatorship’. Taking place in a remote beach house primarily on a single night and day, the play follows the actions of Paulina, who has been tortured by the previous regime and whose husband Gerardo, a human rights lawyer, has just been appointed to head a truth commission established by the new transitional government.
Any voice realised in the target language is, by definition, a conjuring trick, an act of creation...
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