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our own tools, the tools allowing primarily, and perhaps only, to explain nothing but ourselves. This is precisely how this topic is approached by Ivana Sajko in her play The Woman-Bomb. She turns all the listed tools on herself (the authoress) and her work (drama) showing what probably only "great authors" dare to show: one's impotence before the question they put to themselves. An analogous procedure is repeated by Bojan Dordev in the way he directs it, uncovering and dispalying the mechanisms of the prevalent theatre discourse with its conventional structure and, on the other hand, testing if and how it can be interrupted, broken, subjected to a radical cut - at the site of the "incident": the point which alters the (social or theatre) situation, "forcing the change" rather than asking for legitimacy and understanding. In this sense, these are not a drama and a production about a woman-bomb, an Islamic terrorist, but about ourselves: Western authors. Western audiences, Western witnesses and victims of terrorism and about Western play writing and theatre. On a broader scale, in terms of social macro-categories, even if this drama and this production speak about terrorism and violence, they do not do it by telling a story abour innocent victims of terrorism that we know already from the Western media, but, in contrast, by telling a story about US land forces which, far away from the media attention, rolled in their tanks over the Iraqi ditches on the border and in dead silence buried tens of thousands of Iraqi soldiers... These are not, however, works of art "glorifying terrorism" but works asking the audience to take their ethical and political stand, bearing in mind both protagonists neither of whom is innocent. Ana Vujanovic IVANA SAJKO is a writer, dramaturge and visiting lecturer at the Zagreb Academy of Dramatic Arts, born in Zagreb in 1975. She is the co-founder of the theatre group BAD.co and a member of the editorial board of the Frakcija Magazine. She performs and directs her own texts experimenting with the interdisciplinary approach to the problems of writing and performing plays. Her published books include a collection of theatre pieces Smaknuta lica (2001), a trilogy of monologues Zenabomba (2004), the novel Rio bar (2005) and a theoretical work Prema ludilu (i revoluciji) (2006). BOJAN DJORDJEV (Belgrade, 1977), graduated in theatre directing at the Faculty of Dramatic Arts; he holds MA degree in the theory of art and media. He works as director, performer and cultural worker. Djordjev is the co-founder of the TkH The Walking Theory artistic - theoretical platform and one of the editors of theTkH Journal for Performing Arts Theory. Artist-in-residence at Akademie Schloss Solitude, Stuttgart in 2004 and 2005/06. His theatre and performance projects include; Zena-bomba, I. Sajko, Belgrade, 2008; Evropa, I. Sajko, Belgrade 2007; Rio bar, I. Sajko, Belgrade 2007; L'Année dernière à Solitude, with S. Hie and S. Dorovic, Stuttgart, 2006; Opera (je zenskog roda) Belgrade, 2005; No name: Snezana, R. Walser-A.Vujanovic, Belgrade, 2005; Actress (Work) in Progress, with S. Hie and Sena Dorovic, Stuttgart, FRIDA KAHLO una poerna y très corazones, with S. Hie and S. Dorovic, Belgrade 2002; The Dracula Project, Vienna/Lyons, 2002/3; Dream Opera, (TkH) Piran, 2001.