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Two women and a man sit on stage, backs to the audience. On a tripod at the back of the stage, a video camera sits facing the audience, seemingly filming the three figures. The character's name is Abu Ayyoub, a militant involved in planning the kidnap of Israeli athletes by Palestinian militants during the 1972 Munich Olympics.The kidnap of Israeli athletes by Palestinian militants in 1972 is one thing this work is "about".The account penned by Abu Iyyad, one of the four militants who was not killed on the night of the botched German police raid – borrows extensively from German and Israeli versions of the event.The subject of the tale is also important, however, as "the bed" is the central leitmotif of "Ode".Maybe, she suggests, it's because there are so few crumbs of the Munich story left for them to reassemble. Of the 236 people arrested and interrogated during the German investigation of the 1972 attack, some 80 percent of their names are today either unreadable or are missing altogether.Woven through the play's exploration of the Munich 1972 story, operating as a counterpoint to it, are narrative asides that examine the recent history, technology and pop culture resonance of blowing up beds.
‘Worldbuilding’ drives Home Works
Gazing back on a war, its recollection
From Tesco to occupied Palestine
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