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HOW do you deal with a subject like Bosnia, the Yugoslavian war in all its horrible complexity, in a way that is both genuinely dramatic and yet does justice to the real tragedy? To do it badly - however good the intentions - would be not only theatrically unfortunate, but an insult to those involved in the conflict.
Two plays in this Edinburgh Festival so far are outstanding and contrast vividly in methodology - Carmen Funebre (Funeral Song), by Poland's Teatre Biuro Podrozy (supported by the Demarco Foundation), performed out of doors late at night in the playground of Drummond School; and Playing Sarajevo by Allan Sharpe, performed by Fifth Estate in the tiny Netherbow theatre.
Carmen Funebre employs all the techniques of symbolism, going for spectacle with a minimum of dialogue and no discernible plot. Playing Sarajevo tackles the challenge of finding a naturalistic narrative which can carry the situation adequately.
Teatre Biuro Podrozy's appearance at this year's Fringe is a minor act of heroism: last year, on their way here, they were attacked by neo-Nazis and their lead actor, Andrzej Rzepecki, killed. Their brief production is an unforgettable spectacle, terrifying, electrifying, eloquent despite the lack of words, performed with total energy and commitment and, in the context, all the more a privilege to witness.
"Move...