Abstract :
A remembered piece of student theatre returns the writer to an examination of what was staged: a play centring on survival of the Shoah; the actor himself, a survivor; or an old manʹs self-discovery in the theatre. A shocking gestus in this production broke the boundaries of theatre and (while the fourth wall remained intact) transformed the audience into witnesses, and theatre into testimony. The article theorizes traumatic memory and its manifestations in the body, traumaʹs staging and the shape of narrative, and the difference between history, its performance and its mark
