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Now

Now Bonnie Marranca nce again during the life of the journal, I find myself sitting down to write an editorial against the background of great turmoil in Europe. In 1989, Owe reconceived the issue we had been working on to collect new mate- rial in response to the evolving revolutions in Central Europe, where thousands filled the squares of Poland, Hungary, Czechoslovakia, Romania, Bulgaria, and East Germany, culminating in the fall of the Berlin Wall in November of that year. A few days later, East German playwright Heiner Müller came to New York for a performance at The Kitchen of “The Man in the Elevator” sequence from his play The Task, from our Hamletmachine volume. He was in disbelief and shock that he would live to see the collapse of East Germany. “How ironic,” I wrote then in PAJ 35/36, “that what was once called the ‘iron curtain’ should dissolve in the gestures of citizen/actors in a new historical drama.” In that momentous time, the Western world looked forward to a new future and the end of the Cold War, if not history. Now, after the brutality of the attack foisted on Ukraine by Vladimir Putin, many are speaking of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Now

Marranca, Bonnie
PAJ: A Journal of Performance and Art , Volume 44 (2): 2 – May 1, 2022
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Publisher
MIT Press
Copyright
© 2022 Bonnie Marranca
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_e_00605
Publisher site
See Article on Publisher Site

Abstract

Bonnie Marranca nce again during the life of the journal, I find myself sitting down to write an editorial against the background of great turmoil in Europe. In 1989, Owe reconceived the issue we had been working on to collect new mate- rial in response to the evolving revolutions in Central Europe, where thousands filled the squares of Poland, Hungary, Czechoslovakia, Romania, Bulgaria, and East Germany, culminating in the fall of the Berlin Wall in November of that year. A few days later, East German playwright Heiner Müller came to New York for a performance at The Kitchen of “The Man in the Elevator” sequence from his play The Task, from our Hamletmachine volume. He was in disbelief and shock that he would live to see the collapse of East Germany. “How ironic,” I wrote then in PAJ 35/36, “that what was once called the ‘iron curtain’ should dissolve in the gestures of citizen/actors in a new historical drama.” In that momentous time, the Western world looked forward to a new future and the end of the Cold War, if not history. Now, after the brutality of the attack foisted on Ukraine by Vladimir Putin, many are speaking of

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: May 1, 2022

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