Review by Kate Gaul
“Bambiland” is a play by Austrian playwright and novelist Elfriede Jelinek, winner of the 2004 Nobel Prize in Literature. She was awarded for for her "musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power." At that time, “Bambiland” caused a sensation because of its protest against the Guantanamo Bay prison. Typical Jelinek’s style, there are numerous acts of violence, both physical and sexual. It’s the kind of play that is rarely seen in performance (and never in Australia). The text is a bold exploration of the war of words and images that shape our perception of global conflicts. It is intellectually astute and at the pointy end of theatre nerds and academics. It is quite something to see it on stage today. It is a must-see for those interested in contemporary theatre, and those keen to connect with haunting resonances of contemporary history.
“Bambiland" confronts disturbing realities of war and media today. This enthralling production at Zoo Southside is best described an experience rather than “another night at the theatre”. It’s not easy. We are told “Elfriede Jelinek’s text dismantles the global media war machine as accounts of Iraq's invasion collapse into a child refugees’ memories of the Bosnian War.”
This Edinburgh Fringe production is the UK premiere of “Bambiland”, an adaptation of translated by Lilian M. Banks. This solo performance, performed by Jelena Bašić, and directed by Peter Lorenz. It is a harrowing examination of modern warfare and media representation which interweaves stark accounts of the Iraq war with Bašić's personal memories and experiences as a child refugee during the Bosnian war. As the lines between reality and illusion blur, the question arises if the possibility of peace is even still thinkable. Jelena Bašić uses everyday objects to tell her story – tin cans, photographs, hand torch, plastic bags and a pile of toy soldiers. Live video projects what is created by miniatures on the floor. The violent acts of representations are played back on video, and we find ourselves immersed in this battle of toy soldiers. There are incredible images created that last long after the show has ended.
Now based in Edinburgh, Jelena Bašić is a regular performer with Mischief LaBas and Surge as well as running her own theatre workshops for refugees and directing “Don Quixotte Rides Again” which plays at the Scottish Storytelling Centre as part of the Edinburgh Festival Fringe.
Thought-provoking tensions between what is true and what is real on-stage leaves audiences reflecting on the violent act of representation and the cyclical nature of war owing much to the ancient Greek theatre. As Middle Eastern deserts and the siege of Sarajevo bleed into each other on stage, the distinction between “us” and “them” dissolves, presenting a powerful commentary on ongoing conflicts and the very words we have available to describe them.
In a nutshell: harrowing, intruiging, dense and performed with great charm by Jelena Bašić.
Image Supplied
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