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Death and the Maiden by Ariel Dorfman Ariel Dorfman was born in Argentina in 1942, and two years later moved with his family to the United States. His father relocated the family to Chile in 1954 and Dorfman became a naturalized Chilean citizen in 1967....

Death and the Maiden (La muerte y la doncella) is a play by Ariel Dorfman, first published in 1991. Dorfman is a Chilean exile, having escaped the regime of Augusto...

LOVELY GREEN EYES By Arnost Lustig Arcade. 248 pp. $24.95 Certain stories won't stay told. The material is so powerful that it surfaces again and again, compelling the writer to process it in fresh ways, casting and recasting the past in...

Tea, by Stacey D'Erasmo. Chapel Hill, NC: Algonquin Books of Chapel Hill, 2000, 317 pp., $2l.95 hardcover. THE TERM "COMING-OF-AGE NOVEL" always seemed to me a fairly vague rubric until I spent several years reviewing first fiction; after reading many dozens of...

Has classical music become hip? From the looks of this fall, some of the city’s most traditional venues will be competing with clubs for the downtown crow. Check out The Berlin in Lights festival (Nov.2 to Nov. 18), which will celebrate Berlin (perhaps the coolest...

“If someone had a gun to my head and said, ‘Define yourself,’ I’d have to just start by saying, ‘I’m a New Yorker,’” said Sigourney Weaver. “Whatever that means.” The 57-year-old actress was waxing poetic about her city of birth and current residence last Friday...

In the following interview, Polanski discusses his body of work, cinematic techniques, and the process of adapting Death and the Maiden from stage to screen.

In the following review, Crnkovic compares Death and the Maiden to other films in Polanski's oeuvre that explore the victimization of women, arguing that Death and the Maiden effectively places the spectator in the uncomfortable position of not knowing who is the victim and who is the aggressor.

In the following review, James lauds Polanski's effective cinematic adaptation of Death and the Maiden, commenting that the film's direction is subtle, restrained, and thoughtful.

In Death and the Maiden, stage directions present us with real places, people and problems and try to transmit the author's intentions through our emotions in order to engage us mentally. The audience in The Visit however, is left emotionally untouched because of the extreme irony and absurdness of the action.