Ariel Dorfman and Harold Pinter: Politics of the Periphery and Theater of the Metropolis


In lieu of an abstract, the first paragraph of the essay follows:

The skeleton of this article is what looks like a string of contingencies. The Chilean writer Ariel Dorfman's first book was a lengthy study of Harold Pinter's first play The Room (1957).1 Some twenty years later, Pinter would date his political reawakening from the same coup in Chile by General Pinochet in 1973 that would condemn Dorfman to a seventeen-year exile.2 In the mid to late 1980's, Pinter wrote two brutally stark political plays about torture and repression.3 Shortly afterwards, Dorfman dedicated to Harold Pinter his own English translation of his play La muerte y la doncella (Death and the Maiden), set "in a country that is probably Chile, but could be any country that has given itself a democratic government just after a long period of dictatorship."4 In 1991, Pinter's sketch The New World Order was used as a curtain-raiser to the London production of Dorfman's play.5

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