The dramatic arts in many ways lend themselves particularly to the recreation of great historical events. As "performed literature," drama can, at least ideally, supply vivid renditions of these events and at the same time build emotions around them that transform them into works of art. In relationship to the A-bomb experience we shall see there to be a great gap between this potential and what has actually been achieved. But at least two efforts, both of them on film, have made unique use of their medium in approach and impact. And other films, though less successful artistically, also teach us much.
Concerning other forms of drama, 1 Kaijyama, the author of Experimental City, achieved the unusual distinction of bringing humor to the A-bomb problem in a radio play entitled "The Mist of Hiroshima" (Hiroshima no Kiri), broadcast in March, 1958, in which ghosts of A- bomb victims hold a convention for the purpose of deciding whom to haunt--the American President, the scientist "Poustein" ( Einstein), the Japanese leader Hideki Nenio (Tōjō), or someone else--but they cannot agree, and end up in a state of poltergeistic confusion. Most radio, TV, and stage plays have been more conventional in depicting general hibakusha suffering, fear of aftereffects, shame over deformities,