L'histoire d'un couple, témoin de la difficile transition d'une dictature militaire à un régime démocratique où l'avenir ne paraît pouvoir se construire sans la destruction du passé.
2 hommes, 1 femme / durée : 1 h 45
Conceived the night of Che Guevara';s burial in 1967, Gabriel McKenzie is inextricably bound up in the history and politics of his native Chile. Twenty-four years on, and still a virgin, Gabriel returns from Manhattan exile to confront his legacy: a Don Juan father and a country preparing for the five-hundredth anniversary of America';s "discovery." Into Gabriel';s quest for manhood and identity enter one iceberg, a faithful if eccentric nanny, and a whole host of fantastical characters.
Renowned author Ariel Dorfman, obsessed for twenty-five years with the malignant shadow General Pinochet cast upon Chile and the world, followed every twist and turn of the four year old trial in Great Britain, Spain and Chile as well as in the U.S., the country that had created Pinochet. Told as a suspense thriller, filled with court-room drama and sudden reversals of fortune, the book at the same time addresses some of today's most burning issues, made all the more urgent after the terrorist attacks of September 11th 2001. What are the limits of national sovereignty in a globalizing world? How does an ever more interconnected world judge crimes committed against humanity? What role do memory and pain and the rights of the survivors play in this struggle for a new system of justice? But above all, the author, by listening carefully to the voices of Pinochet's many victims, explores how can we purge ourselves of terror and fear once we have been traumatized, and asks if we can build peace and reconciliation without facing a turbulent and perverse past.
In this interlocking prose web of first-person testimony, novelist, poet, and playwright Ariel Dorfman relates the struggles of fifty human rights activists hailing from more than forty countries. Manifesto for Another World features the words and struggles of internationally celebrated activists including Vaclav Havel, Baltasar Garzón, Helen Prejean, and Marian Wright Edelman; and Nobel Prize Laureates the Dalai Lama, Desmond Tutu, Elie Wiesel, Oscar Arias Sánchez, Rigoberta Menchú Tum, José Ramos-Horta, and Bobby Muller. Equally moving are the stories of more than thirty others, unknown and (as yet) unsung beyond their national boundaries: Kailash Satyarthi, who has spent a lifetime working to free tens of thousands of victims of child labor in his native India, and Juliana Dogbadzi, who was sold into sexual slavery by her parents at age twelve, escaped after seventeen degrading years, and now is devoted to the liberation of African girls bound in the same terror. From their ranging voices Dorfman culls the message: freedom from persecution, and freedom of opportunity, for all. Manifesto for Another World is both a political testament and a work of art.
Mascara delves into the dark terrain of identity and disguise when the lives of three people collide. A nameless man with a face no one remembers has the devastating ability to see and capture on film the brutal truths lurking inside each person he encounters. Oriana, a beautiful woman with the memory of an innocent child, is relentlessly pursued by mysterious figures from her past. Doctor Mavirelli is a brilliant and power-hungry plastic surgeon who controls society';s most prominent figures by shaping their faces. The twining of these three fates plays out in a climactic unmasking.
Set in a Greek village in 1942, and purportedly written from his imagination by a Danish man before he was picked up by the Gestapo and not seen again, here is Ariel Dorfman';s haunting and universal parable of individual courage in the face of political oppression. Widows forms a testament to the disappeared--those living under totalitarian regimes the world over, who are taken away for "questioning" and never return.
One by one, the bodies of men wash up on the shore of the river, where they are claimed by the women of the local town as husbands and fathers, even though the faces of the dead men are unrecognizable. A tug-of-war ensues between the local police, who insist that the women couldn';t possibly recognize their loved ones, and the women demanding the right to bury their beloveds. As it evolves, the stand-off reveals itself to be a power struggle between love, dignity and honor, and the lesser god of brute force. A lesson in how power really works, and how it can be made to work differently.
Blake's Therapy is a whirlwind ride through the desires of one man to find something real in a virtual world. After suffering a mental breakdown, Graham Blake checks into the Corporate Life Therapy Institute, where the self-assured, silver-tongued Dr. Carl Tolgate has prepared a strange, shocking, and erotic treatment. Now Blake must find out, before it is too late, who is controlling his life, his company';s future, and his own heart.
A work of intense psychological intrigue, Blake's Therapy holds a magnifying glass to one man';s life as it unravels in a world of economic turmoil and spiritual crisis.
The Chilean poet, novelist, and playwright journeys through the forbidding desert of Northern Chile, visiting the region's ghost towns, mines, prehistoric human remains, harsh landscapes, and a remote Pinochet death camp.
"A multifaceted journey that is geographical, personal and political . . . A complex, nuanced view of United StatesLatin American politics and relations of the last forty some years." -- Durham Herald-Sun "One of the most important voices coming out of South America." -- Salman Rushdie In September 1973, the military took power in Chile, and Ariel Dorfman, a young leftist allied with President Allende, was forced to flee for his life. In Feeding on Dreams, Dorfman portrays, through visceral scenes and with startling honesty, the personal and political maelstroms that have defined his life since the Pinochet coup. Dorfmans wry and masterfully told account takes us on a page-turning tour of the past several decades of North-South political history and of the complex consequences of revolution and tyranny, excavating for the first time his profound and provocative journey as an exile and the consequences for his wife and family. "Fascinating." -- San Francisco Examiner "A great book that will simultaneously undo us and sustain us." -- Tikkun
"Let me tell you, America, of the hopes I had for you," Dorfman writes after the fall of the Twin Towers, remembering back to an earlier September 11 in 1973, when he was on the staff of Salvador Allende, then president of Chile, the day he was removed from office and murdered in a coup in which the U.S. government was complicit. "Beware the plague of victimhood, America . . . Nothing is more dangerous than a giant who is afraid." Included in Other Septembers, Many Americas are major essays about the America south of the border, exploring the ambiguous relationship between power and literature and touching on topics as diverse as bilingualism, barbarians, and video games. In the essay "A Different Drum," Dorfman asks, "Isnyes'>#8217;t it time, as war approaches yet again, to tell each other stories of peace over and over again?" Over and over in these jewellike essays, his best shorter work of the last quartercentury, Dorfman weaves together sentiment and politics with his sense of the larger historical questions, reminding Americans of our unique role in the world, so different from the one put forward by the current administration: the power to resist and to imagine.
La muerte y la doncella, la obra latinoamericana mas representada en la historia del mundo, ha llegado a constituirse en un clasico sobre la justicia y el perdon, la memoria y el olvido. Dorfman se ha propuesto a explorar preguntas pocas veces hechas en voz alta: "yes'>#191;Como pueden los represores y los oprimidos cohabitar una misma tierra, compartir una misma mesa?" preguntas que hoy dyes'>#238;a siguen tan vigentes como cuando Dorfman escribia esta obra.
A woman seeks revenge when the man she believes to have been her torturer happens to re-enter her life. Years have passed since political prisoner, Paulina, suffered at the hands of her captor: a man whose face she never saw, but whom she can still recall with terrifying clarity. Tonight, by chance, a stranger arrives at the secluded beach house she shares with her husband Gerardo, a human rights lawyer. A stranger Paulina is convinced was her tormentor and must now be held to account... Ariel Dorfman's play premiered at the Royal Court in 1991, and is now recognised as a modern classic. It ran for a year in the West End, was a hit on Broadway and was filmed by Roman Polanski starring Ben Kingsley and Sigourney Weaver. 'A play that audiences will carry out of the theatre and into life' New York Times