ABSTRACT
KNEhttps://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9781315005140/620c3f2e-716c-4ef6-bc01-408f56e0daa1/content/in52_1_B.tif" xmlns:xlink="https://www.w3.org/1999/xlink"/>EVIC'S PIECE RESPONDS TO THE fratricidal war during the early 1990s in the former Yugoslavia. She depicts a society in which as recently as the late 1970s, political street theatre was ‘the first and only opposition movement in the one-party system of ex-Yugoslavia’ Agit-prop no longer points to any one ideology, least of all Marxism; the mere act of questioning is the political act exemplar. Theatre is as much a tool of the state as of the opposition, for whom sometimes the only action is standing in public, neither agitating nor propagandizing, but bearing witness to events to which there is no obvious or immediate remedy. Here Knezevic's essay bleeds into the next section of this book, ‘Witness.’
