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.
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