Because dramas often lack time to fully develop characters, playwrights rely on indirect characterization to avoid underdeveloping their characters. Audience members and readers must personify individuals through other means such as dialogue or actions. To characterize each of the three characters in Death and the Maiden, Ariel Dorfman manipulates various elements of dialogue and language. Through the frequent use of ellipses, dashes, and diction, Gererado's character establishes himself as a subordinate individual. His wife Paulina's personality stands out through the questions and long monologues of his dialogues, describing her distrustful nature and strong spirit. Conversely, formal diction seems not to be the only element of dialogue that characterizes Roberto. His class, upbringing, and emotions are presented through the use of punctuation, particularly hyphens or ellipses. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayDuring the play, Death and the Maiden, Gerardo expresses the characteristic of submission towards those around him, especially towards his wife Paulina. To capture this perception, Dorfman uses two distinct techniques. During his discussions, both Paulina and Roberto appear to interrupt or overshadow Gerardo through the inclusion of ellipses and dashes. For example, at the beginning of the show, Paulina dismisses Gerardo when she says:GERARDO: Do you mean Roberto Miranda? I barely know him. Besides, I haven't decided yet whether... PAULINA: You've decided.GERARDO: I said I would reply tomorrow, that I felt very honored but that I needed...PAULINA: The president? Did you tell the President? (Dorfman 7-8)Throughout the entire conversation, Paulina denies Gerardo the chance to finish his thoughts; indicating his lack of consideration for what he has to say. In addition to punctuation, Gerardo's choice of words contributes to his portrayal of submission. He always seems to have an apologetic and pleading tone when speaking; particularly during his conversations with Paulina as she explains the mock trial, Gerardo tries to reason with his wife before she does something crazy “Dear, dear Paulie, please don't be so difficult. I want to talk to you where we have some privacy (33). Emphasizing the words "please", "Paulina", "Paulie" and "love", Gerardo attempts to appeal to his wife, bringing her to her senses before she does something rash. In this example, Gerardo begs Paulina to refrain from shooting Roberto and to free him without undergoing the trial that she has prepared. His expression of calm and reason attributes to a sense of docility. Instead of angrily asking her to stop her charade, Gerardo gently tries to persuade her, appearing as if he is afraid of her. Undoubtedly, Dorfman's emphasis on the punctuation and diction of Gerardo's character underlines his submission. Compared to her husband Gerardo, Paolina seems to embody the antithetical personality. Paulina's exceptionally dark and troubling past haunts her throughout the play. During Pinochet's government, thousands of people were kidnapped and tortured for political reasons, including Paulina. Her experiences of rape and torture are attributed to her distrust of those around her. Paulina's distrust is demonstrated through Dorman's use of punctuation in his speech. Almost all of Paulina's dialogue ends with a question mark. Whether she is talking to her husband or Dr. Miranda, the question marks seem to show Paulina's character. ToFor example, when Paulina explains to her husband her intentions with Roberto, the questions contribute to the belief that Paulina begins to doubt Gerardo and his trust in her: PAULINA: Kill them? Kill him? Since he didn't kill me, I think it wouldn't be right... GERARDO It's good to know, Paulina, why you should kill me too, I warn you if you're going to kill him, you'll have to fill me up first. PAULINA Would you mind calming down? I don't have the slightest intention of killing him, and certainly neither do you... But as usual, you don't believe me (34).Paulina loses trust in her husband because he seems to mistrust her. She fears the idea that the only person she thought she could trust, Gerardo, suddenly doesn't trust her. In addition to the frequent inclusion of question marks, Paulina's speech features extensive monologues. These long speeches describe his desire to be the center of attention and take charge of the situation. Her almost interminable monologue at the beginning of Act I Scene 4 shows the audience Paulina's dramatic nature. He explains to Dr. Miranda parts of his troubled past and his feelings towards Schubert (19-21). Speaking extensively for just over three pages, Paulina appears as the focus of the conversation, just the way she likes it. Undoubtedly, as the show progresses, Paulina's distrust of people and her love of attention make themselves known to the audience through the presence of question marks and monologues. In contrast, Dr. Roberto Miranda's use of language distinguishes his differences from the other two characters in the play. Formality characterizes his speech, reflecting his class and upbringing. Roberto's own elocution develops more than the speech of Paolina or Gerardo, who assert a more casual tone. Even when Paulina ties him forcefully, Roberto's speech still embodies the highest level of formality:ROBERTO: I don't know you, ma'am. I've never seen you before in my life. But I can tell you this: you are extremely sick, almost prototypically schizoid. But you, Escobar, you sir, are not sick… (32). Despite being the prisoner of two strangers, Roberto still remains polite and correct when he addresses Paulina and Gerardo. However, Dorfman changes the punctuation of Dr. Miranda's dialogue, especially in the scenes where he remains a prisoner of the Escobars. Compared to before, the most notable difference occurs with the frequent inclusion of ellipses and dashes. These punctuation marks reflect the nervousness and fear that Roberto feels during these situations; like when Gerardo begs him to indulge Paulina by indulging her fantasy: Roberto appears hesitant at the thought of lying to Paulina and rightly so, considering the dangerous situation. If she gives Paulina the wrong answer, it could cost Roberto his life. The ellipsis in this excerpt persuades the audience of the doubt Roberto feels as he seems unusual in his behavior. If Dorfman had used Roberto's previous speech patterns, his sentences would end with a more definitive response rather than an open-ended response. However, his hesitation reveals his awareness of the situation; if this plan goes awry, he risks his own life. Overall, Roberto's higher status is asserted through his formal diction. Yet the addition of ellipses and dashes portrays a feeling of nervousness that may obscure its formality. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay All in all, playwrights manipulate an assortment of techniques to characterize the characters of their plays. Ariel Dorfman uses indirect characterization, in.