Comentarios sobre “La muerte y la doncella” (1990) de Ariel Dorfman

Roberto Ponce Cordero,

 

Mucho más evidentemente incluso que en el caso de The Crucible de Arthur Miller, La muerte y la doncella, de Ariel Dorfman, es una representación alegórica de procesos históricos y de debates ideológicos que son, en el contexto dramático, reducidos a unas pocas figuras en las que se concentran y condensan diferentes posiciones tanto filosóficas (es decir, diferentes corrientes o tendencias dentro de los debates) como sociales (o sea, diferentes puntos de vista o sitios de enunciación que están altamente influenciados por ejes constitutivos como género, clase, etc.). A diferencia de Arthur Miller, sin embargo, Dorfman no parece ni siquiera estar cerca de tener respuestas nítidas, o certezas, sobre el proceso histórico en cuestión, o más bien sobre la manera más justa y más “humana” de superar las divisiones y los traumas causados por éste.

Paulina, por ejemplo, quien es sin duda la protagonista principal del drama, no es un personaje demasiado agradable, y pese a que el espectador no puede dejar de simpatizar con sus intentos de acceder a “la verdad” sobre la tortura que ha sufrido, así como con su condición de víctima ligeramente menospreciada por el hecho de ser mujer y, para ponerlo de forma un poco brutal, por el hecho de estar “medio loca”, lo cierto es que incluso antes de actuar violentamente ya su misma “medio locura” incomoda. Es como demasiado voluble (véanse, por ejemplo, los verdaderos altibajos de temperamento de los que hace gala en menos de dos páginas, al hablar sobre el neumático y la gata y acabar llamándose a sí misma “gatita”, pp. 16-17) y está como demasiado evidentemente al borde del colapso nervioso o, precisamente, de tomar justicia por su propia mano, con fervor poco menos que fanático.

En cuanto a Gerardo, cuyo machismo light, ilustrado, queda perfectamente patente en varios momentos de la pieza (inolvidable es lo del “rico desayuno”, p. 32, que suscita además comentarios irónicos de Paulina), su rol de mediador en última instancia inoperante no podría ser más explícitamente enfatizado que lo que ya es. Cargado de un sentimiento de culpa provocado, aparentemente, por el hecho de no haber sido torturado, a diferencia de su mujer, intenta balancear su vida doméstica diaria con ella, quien es una imprecación andante, y su condición de hombre público obligado a hacer compromisos y a entrar en negociaciones sobre temas que, en opinión de quienes han experimentado el dolor en carne propia (el dolor que ha llevado, justamente, a esa “locura” o ese “fanatismo” del que antes hablaba), no son susceptibles a ser negociados. Su discurso democrático y muy conforme a la opinión pública (del tipo de “Mientras tú me estés apuntando, no hay conversación posible” [p. 40] y “Si algo me ha reventado de ellos es que acusaron a tantos hombres y mujeres, hicieron de juez y parte y acusadores y ejecutores y no les dieron a quienes condenaron la más mínima garantía, la posibilidad de defenderse” [p. 45]) suena, una vez que el conflicto se ha desencadenado y las máscaras han sido quitadas, absolutamente inapropiado, fuera de lugar. Es tan ridículo, en todo caso, como la idea abstracta y –para usar un término de la época– “pequeñoburguesa” de “democracia” en determinadas coyunturas históricas de América Latina y otras regiones, como por ejemplo durante los últimos meses de la presidencia de Allende. Después de todo, y como muy significativamente dice Roberto, “Yo estoy metido en esto sólo porque me diste pena abandonado ahí en la carretera moviendo los brazos como loco… mira, a ti te toca sacarme de aquí” (p. 59).

Roberto, finalmente, es un personaje que se ha dejado seducir por el poder físico sobre los cuerpos, y que dentro de toda su monstruosidad no es ni lejanamente un monstruo, sino una persona más o menos común y corriente, como todas las demás, a quien sólo la casualidad lo ha llevado a cometer las atrocidades que ha cometido. Es importante, en este sentido, que no es militar sino doctor, y que no parece estar ni demasiado orgulloso ni demasiado arrepentido de sus crímenes, sino más bien como culpablemente orgulloso, como quien esconde una “perversión sexual” y disfruta al mismo tiempo que deplora el hecho de tenerla, o el hecho de que sea hecho público que la tiene. En todo caso, sea como sea su fascinación por “la Doncella” es evidente hasta el final de la obra, cuando la sigue mirando fijamente, con ojos inquisidores, durante una interpretación de esa pieza musical que, como los múltiples nudos de la sociedad latinoamericana marcada por la tortura, el deseo, el odio y el amor, los une sin posibilidad de verdadera separación.

 

 

(Crédito de imagen de thumbnail: http://arieldorfman.com/. Crédito de imagen de post: http://www.lom.cl/25664c96-0729-46d3-8f48-dc190a46d7a8/La-Muerte-y-la-Doncella.aspx).

Published by Roberto Ponce Cordero

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