Abstract

The article discusses two dystopian plays in Hebrew, Joshua Sobol’s The Jerusalem Syndrome (1987) and Shimon Buzaglo’s Black Rain (2007), as well as their performances in Israeli theatre. I will examine the new forms used in these plays—polydrama in Sobol’s case, theater as a testimonial medium in Buzaglo’s—and analyze why apocalyptic drama rooted in the memory of past catastrophes is better suited than other avenues of historical commemoration to serve as a catalyst of imagined introspection that may help avert future dangers by shedding a sober light on the problems of the present.

pdf

Additional Information

ISSN
2158-1681
Print ISSN
0146-4094
Pages
pp. 245-263
Launched on MUSE
2015-12-11
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.