In the summer of 1914, Archduke Franz Ferdinand was assassinated in Sarajevo, an event which led to the horror of World War I and which many historians suggest marked the beginning of the twentieth century. In 1992, Sarajevo again lurched into prominence as the focal point of one of the centurys bloodiest civil wars. Yet Sarajevo at one point epitomized the dreams of the Enlightenment, a city where Christians, Jews, and Muslims peacefully coexisted. In the midst of Sarajevos recent decline into chaos and destruction, Susan Sontag decided to produce Act I of Waiting for Godot, which, despite ever-looming danger, played to packed houses. Why? Why did this city of hope lie crushed at the end of the twentieth century? Why did Sontag stage an artistic production in the middle of such overwhelming tragedy? Why Waiting for Godot? And, most important, why the appreciative, silent tears of audience members who risked their lives to attend a play in the middle of a war?These are the questions...

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