Also, where appropriate, the individual is offered-the representation of the figure of the perpetrators by themselves. The social production of memory in two dimensions is analyzed: 1) the official-the place of the perpetrators in the historical narrative, 2) the public-the reactions of society and media coverage. consolidation of the dominant narrative surrounding Croatians accused and / or convicted of war crimes. These cases indicate the effect of judicial sentences on the collective memory, the social evolution of the figure of the perpetrator and the process of. Trend as of 2013, the counter-memory shown in the theatre crossed the wallsĪnd spread to a much bigger audience than that actually watching theĪBSTRACT: This paper is a study of three emblematic cases of Croatian officers tried for war crimes in the period of seventeen years (2001-2018) when Croatia's cooperation with the ICTY became effective and trials before domestic courts began. Hegemonic narrative of a victorious and victim nation. War trauma, the theatre opened a crack in the society and contested the That after the first period when Croatian playwriting was more focused on Their effects multiplied beyond the theatre audience. Treat, and examines the reactions the staged plays provoked, as well as how Plays, contextualises their plots by explaining the issues and events they The functioning of Croatian theatre institutions, and examines the staged Society and the main events that affected political and social life, explores The study analyses the situation in Croatian With the past from 2005 to 2016, a reverse conservative wave from 2016 toĢ019, and the indications of a comeback of counter-memory in 2020, Three periods: wartime and the post-war transition until Croatia started itsĮuropean Union accession negotiations (1990-2004), a new wave of dealing This paper historicizes the developments in Croatian theatre as a space ofįostering debate on the country’s recent past during the war (1991-1995) in
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