This paper will examine the phenomenon of experimenting with the “Theater of Testimony,” as outlined by Emily Mann in 1974, particularly in the context of Arab-American theater performance. Writing a documentary play to record the traumas of nine Iraqi women during the various manifestations of the Gulf wars of 1991, 1993, 2005, 2006 was Heather Raffo’s main accomplishment. The manner in which concepts of narrativity/performativity, sexual/state violations, local/global politics, American/Iraqi identities, and past/present are articulated in the play complicates issues of representation and agency. Who can speak for Iraqi women’s pain? What happens to the project of documenting trauma once it crosses national borders? Is the practice of suturing the gaps between performers and audience capable of bridging the representational rift? The play’s multiple, hyphenated voices suggest that a successful documentation and enactment of trauma start with the project of affective decentering, and embodiment with the victimized Other.