Two queens battle for the authority of interpretation in "Ulrike Maria Stuart." As eloquent undead, they haunt the prison of their RAF past: children of a revolutionary ideology that has long spat them out. In stark contrast is "The Silent Girl": the last survivor of a neo-Nazi trio that left a trail of murder across the country. As a mute void, she stands trial, which expands into a tribunal of biblical proportions. In these two powerful, linguistically rich plays, Elfriede Jelinek circles both left and right-wing terrorism while simultaneously writing a history of the German mentality.