Abstract
In the 1988/89 season, Otter Trap was the only premiere in the National Theatre that indirectly thematised the recent state socialist past and was thus connected to the political context of the year of the regime change. Erzsébet Galgóczi’s novel was first censored, then achieved cult success; it discussed the show trials of Rajk and his companions, and the possible life paths for peasants, women, and female creatives, presenting a sharp critique of the Rákosi era. This paper examines the factors that prevented the performance from having such a defining effect as the novel did, factors which point to questions about the theatrical representation of historical memory.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
