Abstract
The article presents an analysis of the play "Death of the Squirrel-Man" by Małgorzata Sikorska-Miszczuk, which concentrates on strategies of representation of the traces of historical events in the performative arts. The piece is being treated here as a kind of memorial phantasy, a variation on the figure of Ulrike Meinhof and the activity of the RAF, and is an example of Polish theatre's engagement with the issue of terrorism, offering a unique insight into the practices of memory of 1970's terrorism.
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