Atomic Tango: Deconstructing the Science, Ethics and Intertextuality of Friedrich Drrenmatt's The Physicists

Eugne Sensenig-Dabbous, assistant professor for political science and cultural studies, Notre Dame University Louaize, Lebanon <sdabbous@ndu.edu.lb>

Returning to Drrenmatt's classic comic satire after fifteen years can remind an author of Azar Nafisi's "Reading Lolita in Tehran."1 Making one of the most central of Europe's 20th century playwrights accessible to a Middle Eastern audience means not only awakening an interest in the science play genre, it also requires a taste for the uniquely intertextual nature of Drrenmatt's approach to his characters and a desire to follow him on a wild chase throughout modern European history, culminating in the dark days of the mid 20th century Cold War. As a German studies scholar, educated in an Austria that was still located at the very edge of the Iron Curtain, reading Drrenmatt in Lebanon with colleagues and students from a variety of disciplines opened new horizons in the perception of this epic text. In following, the embeddedness of the play in the European scientific tradition and the Central European "mad scientist genre" will be juxtaposed to the universal statements made by the play, which are so conveniently summarised in the author's "21 Points" (95-96) at the end of his work.

It Takes (at least) Two to Tango In 1637, Pierre de Fermat wrote his famously allusive last theorem, "Where x+y=z, (xn)+
(yn)=zn has no solutions where n is greater than two," in the margin of a book (Christenfeld). In

the 2000 science musical, Fermat's Last Tango, Joanne Sydney Lessner has this renowned 17th century mathematician duel with a fictitious modern-day rival, reminiscent of Princeton professor Andrew Wiles, in order to prevent his secret from being revealed. In the 2001 science play, Oxygen - the result of the joint endeavours of the distinguished chemists and literary authors, Carl Djerassi and Roald Hoffmann - the three men who together discovered H2O fight it out simultaneously in the 18th century court of Swedish King Gustav III and before the fictitious "Retroactive Noble Prize Committee" of the

Royal Swedish Academy of Sciences, in order to be recognized for their achievements. Each wants to be declared the father of oxygen; all three contenders seem to deserve the honour. "Carl Wilhelm Scheele was the first to synthesize oxygen, but had not published his findings. Joseph Priestly was the first to publish his findings, but both miss the mark in understanding the significance of oxygen in nature. Antoine Lavoisier, who is now regarded as the Father of the Chemical Revolution because of his real understanding of oxygen as a chemical, failed to credit the work of Scheele and Priestly in the development of his theory (Solla)." Similarly, the eminent astronomer and mathematician, Johann Heinrich Mbius, is credited with first describing the Mbius Strip, seen below, in 1858.

(Weisstein, http://mathworld.wolfram.com/MoebiusStrip.html)

"Although we know this as a Mbius strip today it was not Mbius who first described this object, rather by any criterion, either publication date or date of first discovery, precedence goes to (the German mathematical physicist, 1808-1882) Johann Benedict Listing (O'Connor & Robertson)." A play portraying the duel between Mbius and Listing has yet to be written. Thanks to modern science, however, Johann () Mbius has found an alternative "two to tango." In order to introduce this play to an audience seeking a key to his deceivingly simple storyline, Drrenmatt's three physicists, Johann Wilhelm Mbius, Alec Jasper Kilton and Joseph Eisler - most likely German, American and Russian respectively - will be portrayed as participants in a typically conflictive dramatic struggle between opposing Weltanschauungen; with Mbius representing the discoverer torn between his love of knowledge and feelings of ethical responsibility, while Kilton and Eisler are perfectly willing to dedicate their knowledge unreservedly to a "higher cause," be it Western

corporate democracy or Soviet proletarian party discipline. In this context, The Physicists will be studied as an integral part of the mid 20th century's many genre styles and narratives, which were both affected by and helped create the popular monster and science fiction (or science-in-fiction) stories developed as an artistic response to the industrial and technological revolutions. Special emphasis will also be placed on the societal and ethical issues directly related to the introduction of new technologies and organizational methods as the result of scientific breakthroughs. An attempt will be made to illustrate that The Physicists not only reveals a high level of intertextuality, as seen from the perspective of genre, narrative and device, but is also deeply embedded in the context of ethical issues with which its author was confronted at the height of the Cold War. In following, the various strands of these traditions will be illuminated, based on the now classical performing arts and artistic language of the interwar and post-WW II periods. In my concluding remarks, I will attempt to deal briefly with the difficulties and possibilities of adapting this material for a Lebanese or greater Middle Eastern audience.

The Mad Scientist Genre As of the 1998 London premier of Michael Frayn's Copenhagen, at the very latest, the science play has made a major international comeback, after interest in this genre seemed to lag following a wave of productions either responding to or influenced by the American detonation of the atomic bomb in Hiroshima and Nagasaki at the end of World War II (Kupfer; Traister; Lustig/Shepherd-Bahr; Carlson/Schwarz). Many parallels have been drawn between recent science theatre productions and the post-WW II science theatre tradition, which has served as a role model in many cases. Plays such as Oxygen, Fermat's Last Tango, David Auburn's Pulitzer Prize winning Proof (2000) - pondering on whether a crazy mathematician's daughter just might be the real genius behind his achievements Kipp Erante Cheng's adaptation (2002) of the Alan Lightman's 1994 novel, Einstein's Dream, about inspiration and the irrational, and Lanford Wilson's Los Alamos drama, Rain Dance (2003), represent a new wave of science theatre. These productions are often seen as reflecting the language and logic of the atomic age classics, such as Brecht's

Galileo, which premiered in 1947, Carl Zuckmayer's Das kalte Licht (The Cold Light), dealing with the German Los Alamos spy Klaus Fuchs (1955), Drrenmatt's Physicists (1962), and Heinar Kipphardt's In the Matter of J. Robert Oppenheimer (1964). A case in point, Wilson uses the device of dual focus in Rain Dance, allowing four people to contemplate the long term repercussions of the Manhattan Project, thus relating the issue of the arms race to broader societal problems. Mr. Wilson's dual focus on the issues affecting those involved in the historic project's final countdown as well as its effect on the tranquil beauty and Native American customs of the desert where it all happened contains the seeds of a solid play. With Wilson's story telling skills fully utilized it might be worth revisiting a topic already dramatized in Heinar Kipphardt's 1969 (sic) courtroom drama, In the Matter of J. Robert Oppenheimer (Rain Dance). Many of these plays include at least one idealist, troubled soul or double agent who is genuinely concerned about the fact, as Oppenheimer is reported to have stated, that physicists "had known sin." Oppenheimer is also reported to have recalled a verse from the Hindu text Bhadavad Gita upon seeing the first atomic explosion in New Mexico on 16 July 1945. "If the radiance of a thousand suns were to burst at once into the sky, that would be like the splendour of the mighty one (Robert Oppenheimer)." Zuckmayer describes his fascination with the German Communist Klaus Fuchs, whose arrest in England in 1950 eventually led the execution of Julius and Ethel Rosenberg (1953), as follows. "In the last 15 years a number of espionage cases have been uncovered in the Western world that are in essence largely different from previous cases of this nature; they did not do it for money or as their military duty, but rather because of a personal change of heart. This story and its background shed light on an intellectual and ethical problem, one could even say: the confusion of mankind in these times. () This play is not about the splitting of the atom, but rather a crisis of confidence (Zenz)." A large number of these science plays also include a pragmatic, even cynical, "realist" who has either given up on his higher scientific ideals or never had any to be compromised in the first place. These cynics claim to be dedicated to science for science's sake, but appear to be more interested in fulfilling a personal goal or serving a dubious greater cause. It is these characters that can be placed in a long tradition of the "mad scientist

narrative," beginning with Ben Jonson's The Alchemist (1610), Thomas Shadwell's The Virtuoso (1676), Christopher Marlowe's Dr. Faustus (1604) and Johann Wolfgang Goethe's Faust I and II (1808/1831), as well as novels such as Mary Godwin Shelley's Frankenstein or the Modern Prometheus (1818) and Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde (1886), which were both adapted as screenplays in later years. The earliest cinematic "mad scientists" were, interesting enough, all German, and included Doktor Caligari (Robert Wiene, Das Kabinett des Doktor Caligari, Germany, 1920), the good Rabbi Lw and his evil assistant Famulus (Paul Wegener, Der Golem, Germany, 1920), Doktor Mabuse (Fritz Lang, Dr. Mabuse, der Spieler Germany, 1922) and the mad scientist Rotwang (Fritz Lang Metropolis, Germany, 1927), who is intent on inventing a robot prototype that could replace the rebellious proletarians of Germany's interwar years. This "good cop/bad cop" (enlightened vs. mad scientist) dichotomy, can be extended to the duel in Copenhagen, between the anti-fascist, Jewish Dane, Niels Bohr, and his German friend, student and fellow physicists, Werner Heisenberg, who spearheaded the Nazi campaign to acquire the atomic bomb before they lost World War II. The give and take, which toke place in Bohr's Copenhagen home in the fall of 1941, prior to the collapse of the German Wehrmacht assault on the Soviet Union in 1942/43, was written (1998) before the release of the Danish physicist's personal correspondence with his German counterpart in 2002. Frayn also seems to have ignored the 1945 Farm Hall Recordings, which were annotated, classified and published by Jeremy Bernstein in Hitler's Uranium Club in 1996. After the Nazi defeat, ten physicists, including Heisenberg, von Weizsacker (sic) and Otto Hahn (who later won the Nobel prize as the co-discoverer of nuclear fission) were interned for six months at an English estate known as Farm Hall, located near Cambridge. By collecting the major players in German nuclear physics, the British and Americans kept them out of the hands of the Russians. They also made sure that until the atomic bomb was used, atomic information would be kept largely in American hands. () What none of them (the ten physicists) seem to have realized, at least initially, was that the estate had been wired to record conversations (Kaplan). Frayn's atomic tango de trois in Copenhagen, between Heisenberg, Bohr and Bohr's wife, Margrethe, resembles "a kind of Rashomon-like treatment of a central historical episode,"

according to one of the play's most vicious critics, Paul Lawrence Rose, professor of European history at Pennsylvania State University. Significantly, Rose authored Heisenberg and the Nazi Atomic Bomb Project: A Study in German Culture (University of California Press, 1998) in the same year that Frayn's play was first performed in England. In his allusion to Rashomon (Japan, 1950), Rose is referring to the most self-reflexive of all of Akira Kurosawa's films. Kurosawa reflects on the nature and representation of reality, its relativity, uncertainty, and complementarity. "The central tale, which tells of the rape of a woman and the murder of a man, possibly by a bandit, is presented entirely in flashbacks from the perspectives of four narrators. The framing portions of the movie transpire at Kyoto's crumbling Rashomon gate (Berardinelli)." However, whereas Kurosawa's intent is to undermine hegemonic narratives and unquestioning acceptance of authority, Rose accuses Frayn of one of the "sins" most often committed in the arts, humanities and social sciences with respect to modern physics, i.e. a dilettantish view of reality "refracted through a postmodernist lens and complicated by philosophical ideas derived (a little too glibly) from the quantum mechanics pioneered by Heisenberg and Bohr -- such oft-misunderstood, if oft-cited, concepts as Heisenberg's uncertainty principle and Bohr's complementarity principle (Rose)." Despite the overwhelming amount of verifiable data relating to Heisenberg's true motives during the Third Reich, Frayn portrays his relationship to Bohr as being based on "limits of knowledge, of knowledge of others, of oneself, of the external world of politics and morality; the plasticity of memory; the impossibility of arriving at definitive moral judgments -- this is the heady stuff of Copenhagen (Rose)." Juxtaposing Frayn's ethical relativism with Bohr's sense of moral outrage, documented in this soft-spoken Dane's personal correspondence with Heisenberg, can be quite revealing. In an attempt to mitigate the detrimental effects of his Nazi past on his future as a physicist in the post-war West, Heisenberg wrote a letter to the German "future researcher" (Zukunftsforscher), Robert Jungk, insinuating that he had actually hoped to join forces with the physicists on the Allied side in order to prevent the production of weapons grade plutonium and thus the introduction of weapons of mass destruction. Jungk published this letter from Heisenberg in his now famous 1956 book on the nuclear threat to humanity, Brighter Than a Thousand Suns, an allusion to Oppenheimer's reference to the Bhadavad

Gita following the initial Alamogordo nuclear test prior to the bombing of Japan. Heisenberg maintains that the fact that the atomic bomb seemed so far off was considered positive in the eyes of the German physicist. "This situation gave the physicists at that time decisive influence on further developments, since they could argue with the government that atomic bombs would probably not be available during the course of the war. () Under these circumstances we thought a talk with Bohr would be of value (Jungk)." Bohr's response to Heisenberg's claims reveals no sign of the moral ambiguity attributed to him by Frayn. His position here seems to be based on the certainty of his and his wife's memory about that meeting ("I cannot imagine that, during a meeting so boldly arranged as that in 1941, you should have forgotten what arrangements had been made in this regard with the German government authorities") and a total lack of complementarity with respect to his former friends unwillingness to face up to reality ("I can therefore understand that perhaps at the end you may no longer have recalled what you had thought and what you had said during the first years of the war.") (Niels Bohr Archive). The following lines, released in part as a response to the controversy surrounding Copenhagen, portray a Niels Bohr determined to set the record straight. In this connection I am frequently asked about the background and purpose of the visit by you and Weizscker to Copenhagen in 1941. It is very difficult for me to give an answer because, as you know from our conversations in Tisvilde, both shortly after the war and during you and your familys summer stay in Liseleje, [I] got a completely different impression of the visit than the one you have described in Jungks book. I remember quite definitely the course of these conversations, during which I naturally took a very cautious position, when <without preparation, immediately> you informed me that it was your conviction that the war, if it lasted sufficiently long, would be decided with atomic weapons, and <I did> not sense even the slightest hint that you and your friends were making efforts in another direction (Niels Bohr Archive). At best, Bohr is accusing Heisenberg here of being a liar and Nazi collaborator, at worst he is insinuating that Heisenberg was looking forward to a German victory as a result of his production of an atomic bomb. Heisenberg felt, according to Bohr, no qualms about placing weapons of mass destruction in the hands of the German war machine, thus facilitating its attempt to conquer the world.

Freedom, Responsibility and "Divine" Intervention as seen from the Middle East The Physicists refers to the genres, debates, scandals and hopes of the mid 20th century in so many ways that a simple quantitative listing of them would be too extensive to fit onto the pages of this article. Its reliance on the audience's knowledge the mid-twentieth century political and cultural scene in Central Europe does not, however, limit the epic nature of the play's basic message, i.e. that a "story has been thought to its conclusion when it has taken its worst possible turn (Drrenmatt, 95)." Trying to decode and interpret Drrenmatt's intentions would easily overwhelm any attempt to contextualise this play for production in the Middle East. The few anecdotal examples offered here will suffice to illustrate this point. The cover of the 1964 Grove Press English language translation (by James Kirkup) includes the Mbius Strip clearly hovering over the head of the play's main character.

(replace! with scanned cover of book) It would seem more then obvious that Drrenmatt was - for some unexplainable reason referring to the 19th century mathematician by almost the same name. Several hours on the internet have, however, revealed only inconclusive links to Drrenmatt's other two "physicists." Both the real Eisler and real Kilton, located in Cyberspace, were interested in the subconscious and non-rational, having published in the field of dream interpretation and psychology in general. The Soviet spy and physicist, Joseph Eisler, could be referring to the author of the article, Dreams and Myth, published in a volume edited by Robert Fliess in 1950, (The Psycho-Analytic Reader: An Anthology of Essential Papers with

Critical Introductions. London: The Hogarth Press); various search engines point to an author with the first name Kilton (family name Steward) whose groundbreaking study, Dream Theory in Malaya, came out in 1951. Although no mention is made in the secondary literature considered for this article of Drrenmatt ever having read either author, both publications were available well before the completion of his Physicists. As opposed to Judy Kupferman's assumption that Drrenmatt belonged to the breed of science theatre authors who had no formal training in the field of physics, i.e. that he "makes no attempt to convey scientific ideas and probably has not delved into them (Kupferman)," Jan Knopf emphasizes that Drrenmatt had indeed studied natural sciences - together with philosophy, German literature - for a total of eight semesters before dropping out of the University of Bern to work full-time on his career as a playwright. Along with Kierkegaard and Nietzsche, Drrenmatt was influenced in his thinking during the war years by the work of the Copenhagen school of quantum physics, especially the work of Niels Bohr and Werner Heisenberg, mentioned above (Knopf 23-24). Kupferman does recognize the "tongue in check" manner in which Drrenmatt refers to the great theoretical achievements of early 20th century physics, including Newton/Kilton's "theory of equivalents" (Bohr: complementarity principle), Einstein/Eisler's "Eisler effect" and Mbius' "solution to the problem of gravitation," "unitary theory of elementary particles," and "principle of universal discovery." Drrenmatt was also inspired by the publication of Jungk's Brighter Than a Thousand Suns in December 1956 in the Swiss weekly, "Die Weltwoche." Knopf argues that The Physicists was in many ways the result of the author's reflections on the "atomic question" in "poetic form (94)." As in the case of Jungk's own utopian "future research" during this period, Drrenmatt "makes a point of not placing the blame for the effects of natural science research primarily on the individual physicists of his day, but rather on the industrial powers, which have made the very process of thinking risky because they abuse scientific results for their unscrupulous interests (Knopf 94)." When studying the intentions and reception of The Physicists, reference should be made to the fictional and real life characters that could conceivably have served as role models in one way or another for the three scientists locked away in the idyllic Alpine landscape of

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Cold War Central Europe. This should be kept in mind when contemplating the production of this play in the Middle East. One possible historical inspiration for Drrenmatt may have been the above mentioned ten Farm Hall German physicists interned by the Western Allies in rural England after their capture on the continent. It is significant that Heisenberg, who was one of the Farm Hall Ten, revealed both Kilton-like cynicism ("I give my services to any system, provided that system leaves me alone 76.") and Eisler-like fanaticism ("I have renounced my own power in favour of a political party 79."), which led him to offer his services to the German military-industrial-complex and its ruling Nazi party. As illustrated above, Borg accused Heisenberg of looking forward to the use of the atomic bomb to decide the war in Germany's favour. On the other hand, even "though Heisenberg was offered positions in the United States, and although some other German scholars, including his brother-in-law, the economist E. F. (Fritz) Schumacher, had emigrated out of disgust with Nazism, he had no intention of giving up his prestigious chair at the University of Leipzig (Lustig and Schwartz)." Cold War imagery can hardly be avoided when considering Mbius' adversaries. Basic knowledge of specific details will certainly assist an actor in finding his or her way into a role. The Soviet scientist Eisler, for example, seems almost to be reading from Heisenberg's postwar letter to Jungk when he states at the end of The Physicists that: "We too for some time now have found it impossible to dictate to our physicists. We need results. Our political system too must eat our of the scientists hand (76)." On the following pages of the play, this supposed scientific freedom within a totalitarian state proves to be as much an illusion as Heisenberg's claim that the Nazis would soon be willing to listen to the voice of reason emanating from Europe's wartime scientific community. "This situation seemed to us to be a favourable one, as it enabled the physicists to influence further developments (Zukunftsforscher Jungk)." Though speculative in nature, studying this and other historical examples of embeddedness can help a modern day theatre ensemble tackle a piece that seems to be so closely related to its historical context and thus reveal its epic character and universal message. Looking for the key that will open the complexity of this piece to a Middle Eastern audience, however, is asking the wrong question. As in the case of Nafisi's Iranian Lolita, any attempt to bring Lebanese Physicists to life on stage, must transfer Drrenmatt's

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message in a way that is relevant to a 21st century Levantine reality. It is here that the author's concluding "21 Points" can be so helpful. Drrenmatt's cultural pessimism may have dismayed audiences in the German speaking world at mid century. Points eight and nine on the author's concluding list will hardly seem foreign or subversive to viewers in the Middle East. 8. The more human beings proceed by plan the more effectively they may be hit by accident. 9. Human beings proceeding by plan wish to reach a specific goal. They are most severely hit by accident when through it they reach the opposite of their goal: the very thing they feared, they sought to avoid (i.e. Oedipus). Readers of this short, though incredibly dense play, be they in the Middle East or Mitteleuropa, will not be able to escape the author's concluding, universal warning that "There are certain risks that one may not take (80)," which leads Mbius to recognise the hubris inherent in the discoveries he has tried so hard to hide from the Military Industrial Complex in East and West. His individualistic plan to undo the damage of acquiring forbidden knowledge is "severely hit by accident" in an unexpected twist in the plot at the end of this piece. Mbius concedes that "What was once thought can never be unthought (92)." His well intentioned attempt to go it alone has failed. Perhaps one message will resound even clearer in the former Switzerland of the Orient than it did in at its premier in the Zurich Schauspielhaus in the late winter of 1962. Two of Drrenmatt's theatrical principles seem, in the end, to supply the allusive key to a Middle Eastern rendering and thus to a transfer of this Central European Cold War "atomic tango" to a Lebanese stage. 17. What concerns everyone can only be resolved by everyone. 18. Each attempt of an individual to resolve for himself what is the concern of everyone is doomed to fail (96).

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Endnote
1

Heather Hewett, "'Bad' books hidden under the veil of revolution," Christian Science Monitor, 27 March 2003 edition, http://www.csmonitor.com/2003/0327/p21s01-bogn.html. Azar Nafisi's memoir makes a good case for reading the classics of Western literature no matter where you are. Rich with the author's memories of teaching English during the Islamic revolution that shook her country, "Reading Lolita in Tehran" provides a stirring testament to the power of Western literature to cultivate democratic change and open-mindedness. () After years of fighting her own battles against university administrators (she was expelled from one university for refusing to wear the veil and subsequently resigned from another), Nafisi selected seven of her best students, all of them women, and put together a private class. For nearly two years, this small group talked about forbidden works of literature and their own lives as women in an Islamic republic. Every week, when they came into Nafisi's living room, they "shed their mandatory veils and robes and burst into color," sharing with each other their private beliefs and their struggles with anger, anxiety, loss, confusion, fear, and self-loathing. Incredibly, "Lolita," the controversial novel that has so often been branded as illicit and dirty, resonated more than any other work of fiction with this group of women. They understood that the "desperate truth of Lolita's story is ... the confiscation of one individual's life by another." Like Nabokov's character, they too had "become the figment of someone else's dreams," the dreams of an ayatollah who wanted to "re-create" all women in the image of an illusory past.

Bibliography
Friedrich Drrenmatt, The Physicists, translated from the German by James Kirkup (New York: Grove Press, 1991). James Berardinelli, Rashomon: A Film Review by, Top All-Time 100, http://moviereviews.colossus.net/movies/r/rashomon.html (download: 10/July/05). Niels Bohr, Document 7. Incomplete draft of letter(s) from Bohr to Heisenberg , never sent. In the handwriting of Margrethe Bohr, with corrections by Niels Bohr, added in Aage Bohr's handwriting (<>). Last page may be continuation of Document 8. Undated. Three pages. Niels Bohr Archive / Release of documents relating to 1941 Bohr-Heisenberg meeting / DOCUMENTS RELEASED 6 FEBRUARY 2002 / http://www.nbi.dk/NBA/release.html / 7. Translation / http://www.nbi.dk/NBA/papers/docs/d07tra.htm (download: 12/July/05). Marvin Carlson and Brian Schwarz, Outline of the Course Staging Science; The Graduate Center, City University of New York, Fall 2003, http://web.gc.cuny.edu/sciart/StatgingScience/staging_science.htm#list (21/July/05). Seth Christenfeld, theatre review by, Fermat's Last Tango, http://www.talkinbroadway.com/ob/12_12_00.html, (23/July/05). J. J. O'Connor and E. F. Robertson, School of Mathematics and Statistics University of St Andrews, Scotland , August Ferdinand Mbius, http://www-groups.dcs.stand.ac.uk/~history/Mathematicians/Mobius.html, (download: 15/July/05). Ian Kaplan, The Manhattan Project Heritage Preservation Association, Inc ., http://www.childrenofthemanhattanproject.org/MP_Misc/Bohr_Heisenberg/bohr_3.htm; The Secret Recordings at Farm Hall, Below is a review of a book by Jeremy Bernstein titled: "Hitler's Uranium Club: The Secret Recordings at Farm Hall", (download: 22/July/05).

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Egon Karter, Hommage an Friedrich den Grossen von Konolfingen: Geschichte von und mit Friedrich Drrenmatt (Bern: Egon Karter Verlag, 1991). Jan Knopf, Friedrich Drrenmatt: Autorenbcher (Munich: Beck Verlag, 1977). Judy Kupferman, Science in Theater, http://www.jewish-theater.com/visitor/article_display.aspx? articleID=485 (26/July/05). Harry Lustig and Brian B. Schwartz Copenhagen in New York, http://web.gc.cuny.edu/sciart/copenhagen/nyc/Lustig_Schwartz.htm, download date: (14/May/05). Harry Lustig and Kirsten Shepherd-Barr, "Science as Theater," American Scientist, Vol. 90, No. 6, pp. 550-555, 2002. Azar Nafisi, Reading Lolita in Tehran: A Memoir in Books (New York: Random House, 2003). Rain Dance, A CurtainUp Review, http://www.curtainup.com/raindance.html (download: 24/May/05). Paul Lawrence Rose, Frayn's 'Copenhagen' Plays Well, at History's Expense , from the issue dated May 5, 2000 , http://www.physics.ohio-state.edu/~wilkins/science/copenhagen.html (download: 14/June/05). Robert Oppenheimer, http://en.wikipedia.org/wiki/J._Robert_Oppenheimer (download: 28/June/05). Leah Solla, Other Reviews, Oxygen, Issues in Science and Technology Librarianship, Summer 2001, http://www.istl.org/01-summer/oxygen.html (download: 29/May/05). Daniel Traister, Curator, Writing About "The Bomb", Annenberg Rare Book and Manuscript Library, http://www.upenn.edu/nso/prp/archive/copenhagen/articles/Traister2.html (download: 23/May/05). Eric W. Weisstein, Mbius Strip, C:\Documents and Settings\Administrator\My Documents\Academics\Research\Interfaith\Metanexus\Drrenmatt\Mbius Strip -- from MathWorld.htm,. "Mbius Strip." From MathWorld--A Wolfram Web Resource. http://mathworld.wolfram.com/MoebiusStrip.html (download: 22/May/05). Helmut Zenz, Carl Zuckmayer im Internet, Carl Zuckmayer (1896-1977), Schriftsteller, Dramatiker, Erzhler, Lyriker, Drehbuchautor, Essayist, http://www.helmut-zenz.de/hzzuckm.html (download: 03/June/05). Zukunftsforscher Robert Jungk, The Manhattan Project Heritage Preservation Association, Inc., http://www.childrenofthemanhattanproject.org/MP_Misc/Bohr_Heisenberg/bohr_2.htm, Letter From Werner Heisenberg to Author Robert Jungk, In his book "Brighter Than a Thousand Suns", author Robert Jungk includes a letter he received from Werner Heisenberg detailing his recollection of the meeting between him and his mentor, Niels Bohr. / "Brighter Than a Thousand Suns - A Personal History of the Atomic Scientists" by Robert Jungk. Harcourt; 1956; Pages 102 104. (download: 27/July/05).