The bombing of Dresden in 1945 has been interpreted as a barbarian destruction of an “innocent city” - until today. The “Monument” by the Syrian-German artist, M. Halbouni, challenges this remembrance.
History is booming – this platitude has been around for nearly 30 years. But although movies and television, exhibitions and memorial sites, reenactments and living history, history magazines and computer games have increasingly become objects of research in popular and popularized representations of history, one particular field has, until now, been omitted: history theater. Here, the simulation of the past encounters its deconstruction–therefore it should become a field of research for public history.
In the Third Wave
The term history theater is not used as an umbrella term for various kinds of reenactments and living history, as profoundly introduced by Wolfgang Hochbruck in his monograph, “Geschichtstheater”. Here it is understood as a specific kind of documentary theater, that Hochbruck has not dealt with until now. History and not “fictitious” stories have been conquering the stage since a decade in manifold ways.