An important dialogue from Act 2 of Death and the Maiden reveals how the torture of Paulina in Chile's past totalitarian regime affected her life in the democratic regime today. Ambiguity in the meaning of justice is a key theme that is greatly developed because the audience is exposed to two conflicting viewpoints of Paulina and Gerardo as they confront Roberto tied in a chair. It is unclear whether her abusive treatment is simply revenge for Roberto's rape or an act of justice, as there is no definitive answer when it comes to justice. Additionally, there is a sudden change in Paulina's behavior from a demeaned housewife to an aggressive abuser. Her increasingly animalistic behavior and restlessness develops a distrust of her relationship with Gerardo. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Paulina possesses an abusive power over Roberto that seems to be cathartic but at the same time makes her more animalistic. At the beginning of act 2, Paulina tells him her memory as if he were her "confessor", she did not even tell it to Gerado, her sister and "certainly not my mother" because the truth (about her rape ) will be revealed. only hurt others. This reveals that Paulina has lived in repression and isolation because she cannot repair herself through sharing. The stage arrangement suggests that the confrontation is therapeutic. For example, she looks outwards, towards the “window” and the “sea”, while swaying “gently”. The “window” implies the opening, the revelation of one’s past. The expanse of the “sea” could show one’s power or mental instability because there are no boundaries. Nature is used to give a serene atmosphere, just as finally confessing one's memory stabilizes it to a certain extent. However, his confession goes from cathartic to aggressive, which is linked to the historical context in which the totalitarian regime leaves irreparable psychological scars on its victims. The memory is still very vivid in her when she “imitates a man’s voice”. Although this makes it seem like Paulina is ridiculing Roberto, it also shows that the details of the traumatic event still haunt her and that she is unable to escape the past. Her animalistic behavior develops as she uses vile language and the way she dehumanizes Roberto. At the end of the clip, the "sounds of urination then flushing" can be heard, prompting the audience to imagine the graphic scene of a woman showing no mercy towards a tortured man even when he is at his most weak. Dorfman succeeds in obtaining naturalistic effects to present the reality of Chile to the public. The reality that the victims of the totalitarian regime have been so severely psychologically scarred and the desperate demand for justice in the form of revenge. The deterioration of the relationship between Gerardo and Paulina is manifested by the fact that Gerardo does not understand his wife very well. This is demonstrated throughout the extract when Gerardo insists that Paulina "really listens to him" and that she "needs to talk to him" before he even lets her explain. This shows that he does not have the understanding to understand why his wife is suddenly behaving so abusively. It’s also ironic because he’s the one who should listen to Paulina because she’s a victim of rape. He even defends Roberto from "removing the gag", from "untying his legs" and from using the law, a symbol of justice and intelligence, to bring down Paulina: "even if this man has committed a.