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One of the issues theatre must deal with when approaching the topic of genocide is representation. How can theatre, an art of mimesis, represent extreme violence, absolute evil? What can be shown, so as to honour the memory of the victims and at the same time convey the idea of radical evil? At the turn of the 21st century, two playwrights, Enzo Cormann (France) and Juan Mayorga (Spain) approached the issue of the Holocaust through memory. In Toujours l’orage [Always the Storm](1997) and respectively Himmelweg [Way to heaven] (2002) the protagonists revisit, after several decades, the traumatic events of 1944, when they witnessed or participated in the perversion of life and theatre by the Nazi. This paper will analyse the modalities of the memorial mechanism, among which the metatheatrical devices facilitating the representation of the traumatic event.

project is complemented with extraordinary features, a dramatic monologue (sometimes metatheatrical, on the coordinates of the scenic illusion), choreographic moments, spontaneous interventions as in a talk show, grotesque and infantile mimics of characters, alternating with THEATRICAL COLLOQUIA 359 moments of exaggerated sexuality. Not by chance, Ibsen’s text is modeled on the interpretative act, often diverted from its solemn intentionality, deciding willingly in a Hollywood cliché, in a TV series parody, to deconstruct the inherent tension of the