The Pillowman: Analysis of Major Characters
"The Pillowman" is a dark and thought-provoking play by Martin McDonagh that explores themes of storytelling, trauma, and the impact of violence. The analysis of major characters centers around Katurian, a writer whose disturbing short stories involve child violence, shaped by a traumatic childhood marked by his parents' abuse of his disabled brother, Michal. Katurian's complex relationship with his brother, whom he has cared for since their youth, highlights his guilt and the consequences of his past actions, including the murder of their parents.
Two detectives, Tupolski and Ariel, interrogate Katurian, presenting contrasting approaches to their roles. Tupolski, while still capable of brutality, positions himself as a more restrained figure who hides his own pain behind a facade of control. In contrast, Ariel embodies the "bad cop" persona, driven by emotional turmoil stemming from his own abusive past, and displays a readiness to inflict cruelty. Meanwhile, Michal, Katurian's brother, embodies the tragic results of familial abuse and mental impairment, adding depth to the exploration of innocence lost.
Supporting characters, including Katurian's parents and the mute Girl involved in Katurian's stories, further emphasize the themes of evil masked by normalcy and the innocence of childhood. Through these characters, "The Pillowman" challenges audiences to confront uncomfortable truths about the nature of storytelling and the human condition.
The Pillowman: Analysis of Major Characters
Author: Martin McDonagh
First published: 2003
Genre: Play
Locale: Holding cells somewhere in Europe, possibly eastern Europe
Plot: Dark comedy
Time: 1980s to 1990s
Katurian, a writer of disturbing short stories that involve violent acts inflicted upon children. He works at the “Kamenice abattoir” and is the detainee of Tupolski and Ariel. Early in his life he was forced to listen to his parents torture his brother. Katurian's parents hurt his brother in order to make Katurian a great writer, but the sheer atrocity of the act led him to murder his parents by placing a pillow over their heads and smothering them while they slept. Feeling a sense of guilt for becoming successful at the expense of his brother, Katurian has cared for Michal since the night he found him.
Tupolski, a lead detective in the interrogation of Katurian. He is cold and uncaring, showing little respect for his detainee's well-being. He is the “good cop” of the pair of interrogating detectives, mediating Ariel's more explosive and violent tendencies. Therefore, he weighs the situation and acts with more restraint than Ariel. His father was a violent alcoholic, but he does not consider this to have affected his own life (admitting that he is an alcoholic and violent by his own choice). Although he talks frequently about violence and torture, he does not choose to actually torture Katurian. He sees himself as a savior, acting to save people from impending pain and possibly death. He is motivated by the pain he endures after the death of his own son.
Ariel, the second detective in Katurian's interrogation and the “bad cop” of the pair. He is cruel and appears ready to torture Katurian at the first chance he has. He smokes regularly and is held in check by his partner, Tupolski. Despite his willingness to inflict pain, he is very emotional. He cries quietly to himself when he reads about the death of a little girl, thinking it real. He is moved by violence against people, particularly children. His past involved mistreatment at the hands of his father, whom he murdered by smothering with a pillow as he slept. He is motivated enough by morality that he questions their treatment of Katurian when the situation changes.
Michal, Katurian's older brother, a large man who is “slow to get things.” He goes to school in the Lamenec district, which is in the Jewish quarter of the town in which the play is set. He suffered brain damage from his parents' torture and mis-treatment, which began when he was eight years old. He is deeply attached to his brother, Katurian, who raised him since he was fourteen years old and treats him like a child.
Mother, the mother of the boy and his brother in the story of Katurian and Michal's childhood; the foster mother of the girl in Katurian's telling of “The Little Jesus.” Mother has no speaking part, and her physical appearance is intended to represent a typical, loving mother in the first story. Her appearance here does not reflect the deep evil that motivates her actions; however, in “The Little Jesus,” she is meant to represent one of two evil foster parents. Her actions in “The Little Jesus” are deliberate in their intentions.
Father, the father of the boy and his brother in the story of Katurian and Michal's childhood; the foster father of the girl in Katurian's telling of “The Little Jesus.” As the representation of a seemingly typical father in the first story, Father's only explicit characteristics are a goatee and glasses. Like Mother, he is meant to appear as a loving, caring parent. He has no speaking role, and he acts out the events as Katurian narrates them. In the telling of “The Little Jesus,” he changes costume to represent an evil stepfather. His actions change according to his role in each story.
Boy, a young child who is the apparent brother of Katurian in the first story. Boy is fourteen years old and appears as a corpse, but later he is found to be alive. His mistreatment is motivation for Katurian's character to commit murder.
Girl, a young, mute girl who is kidnapped by Michal. She is approximately eight years old and is covered completely in green paint. Unable to speak, she signs to the two detectives while she is onstage. She is a happy, optimistic young girl without any knowledge of why she is at the holding cells or what has taken place. She is unaware that she might be in danger, and she is motivated above all else by keeping the piglets that she has stayed with inside the playhouse.