ABSTRACT
If, in the wake of Nazism, The Plague (1947) inaugurates the Age of Testimony as the age of the imperative of bearing witness to the trauma and the implications of survival, The Fall, appearing nine years later (1956), rewrites the problematic of an Age of Testimony in a different manner, since its dilemma and its drama do not so much bear witness to survival as they obscurely struggle through the question: how does one survive the witnessing?
