Theatre
Main picture: The Arab and the Jew. Right. top to bottom: La Femme Est Morte or Why I Should Not F"k My Son: Damascus: Bombers' Row
The battle for hearts&minds
‘ l' I new In nI'l'eI' _\nII II II‘ip In l’III'is iII Ihe I IIe\I enIIple nl‘ lllHlllil\ III II II'ip In S}I'iII.
\xliieh \InIIld )nII he IIInI‘e IIeI'\nII\ gning nII'." ;l\i\\ plu) \Ii'ighl l)II\ id (ii'eig. lk‘iilll‘ IIddiIIg. ‘YnII'd pi‘nhIIhl} \II_\ _\nII \\eI‘e II liIIle hiI IIInI‘e llL‘l'\I)ll\ IIhnIII II II'iII In SII'iII. lII l'IIeI. iII Ihe lIIsI lL‘ll. lll‘leeil _\L‘;Il\. IIU lin'elgllel' lIII\ heeII IIllglele‘d iII SII'iII _\nII'd he IIII' less \IIie iII l’III‘is.'
'I'IIe eeIIII'III elIIII‘IIeIeI' iII (iI‘eIg's llimmu'ux. \Ihieh I‘eeehes iIs \Ini'ld pi‘eIIIieI‘e III Ihe 'I‘I'II\eI\e. is II sIIlesIIIIIII \xhn II‘II\e|\ In IlIe IiIIIlIII‘ eil} In sell linglish IIIIIgIIIIge Ie\Ihnnl\s. l'IIenIIseinIIsl}. he l‘eels he IIII'eIId} kllIl\\\ Ihe enIIIIII'} IIIId Ihe presIIIIIpIinIIs he IIIId his S)I‘iIIII enIIIIIeI lllilixk‘ IIhnIII nIheI‘ IIIisIIIIdeI‘slIIIIdiIIgs. "I‘he plII) InIIehes nII Ihe Bl'lll\h IIIIIII‘s leIII‘ nl' Ihe .\liddle liIIxI.‘ \II}s (iI'eig.
eIIelI leIId In II
(ireig’s plII} IIIIInIIIIIs. he sII} \. In II enIIIeIh nI‘
lllilllllL‘l'\ nII Ihe IheIIIe nI‘ eII\I lllL‘L‘l\ \xesI. hIII \\iIil II prnl‘nIIIId purpnse. [IIII'I ni \xhieh is In IIddI'ess Ihe pei‘eeplinns \\ e eIII‘I‘) iIIIn IIII) \iIIIIIIinII. '( )IIe nl‘ [he elIIII'IIeIeI‘s is II lInIel pnI'IeI‘. IIIId his iIIIIIge nl' \IhIII SenIIish girls are like is \ei'} IIIIIeh llilUl'liIL‘Li h) Ihings lilxe .\l'l‘\'. ;\I Ihe sIIIIIe IiIIIe l’IIIIl. Ihe Bl'lll\ll ehIII'IIeIeI'. ilil\ his pei'eeplinn nI \\il;ll .-\I‘IIh\ are like iIIInI'IIIed h} CNN. .-\IInIheI' ehIII‘IIeIeI' pninIs nIII IlIIII \IlIIII \\ e eIIll hIIlIIIIee is I‘eIIll) iIIsI II desire In IIIIIiIIIIIiII Ihe sIIIIIIs qun \\ iIlI Ihe \VesI III enIIII'nl. 'l‘he \VesI ll;l\ Ihe pn“ er nI' Ihe lll;l\\ IIIediII.'
BIIek in .\'e\\ Yni‘k. SlinslInIIII (‘III'I'ieI‘ is IIlsn
enneerned \\l[ll IIIediII pereeplinns IIIId \\III’. lleI'
enIIIpIIII}. ShIIliIIIIII'. lIIId \Iieeess III Ihe l-‘I'inge in 3005 \\iIlI Stirring. This _\eIII‘ II; l‘I'HIHH' lfxl .llnrli' nr iii/IX l S/Inu/I/ XIII I“ A .ll\' Sun IIIIInIIIIIs In II \L‘l'\l0ll nI SeIIeeII's I’lmi'I/n \eI \\iIhiII II IIIndeI‘II eelehriI) I‘IIIIIII}. \inh the ineesIIInIIs I'elIIIInIIslIip III Ihe eeIIII'e \inIIessed h} II elInI'IIs nI' pIIpIII'IIx/i and spin dneInI's. (‘III'I‘ieI' I'eels i1 is IInI IeIII' hIII IIpIIIh} IhIII is
52 THE LIST FESTIVAL MAGAZINE . I
\CIILW (Ill
Steve Cramer goes behind the headlines to preview a selection of Fringe shows exploring terrorism, war and the media
i—‘cnei‘IIIed h} IIIediII l‘ei‘eeplinns nl \\'Ill\. "l‘he \\;l} lilL‘ [H‘L‘\\ is “mixing ilL‘l‘L‘. \\L‘.l.C llIll L'\L‘ll IIl|n\\ed In see enl'lins dI‘IIIIed in “NEW. IlIII _\nII eIIII \IIIIeh Ihe \IIII‘ nII YnIIIIIhe Ill) sexeiI-_\eIII‘— nld hi‘nIheI‘ eIIII. There are \HlllL‘ IIIIIII/Ingl} \inleIII clips nII \nIIIIIhe IIIId in )nIII‘ \Iilnei‘sixe \III} }IIll eIIII \\‘IllL'il IIIeIII. llIII IlIeI‘e III'e iIiMI IIIIIIges ni lli'ilne} SpeIII's \\llll IIn llllIiL‘l'\\L‘;Il'. 'l'he YnIIIIIhe hiIs nII IIIIII III'e n\eI‘ II IIIillinII III)\\. hIII IIII_\I|IiIIg iII\nl\iIIg Ihe \Ini'd Iraq is jIIsI II enuple nI' lIIIIIdI'ed IlInIisIIIId.'
'l‘he Ie\I. \\lIie|I IIses IIII III'Iiele IIhnIII II \nldiei‘ I'eIIII'IIiIIg I'I‘nIII lI‘IIII in Ihe llin/IiiIe/nn I’m! In pi‘eIIIIIhle IIII iIIIiIIIidIIIiIIg ph_\\ieIIl sIIIe. lililixL‘\ IIII IIIIIIek nII \\ll;I[ \\ e IIIighI eIIll Ihe '\\'III' nII \VIIIIILW e1". ('III‘I'ieI' \Ll_\\. "I‘his snldiei‘ I'eIIII'IIed I‘I'nIII Ihe gull IIIId \\;I\ iIIIIIIediIIIel} IIIkeII In II eiIIIiII I‘esIIIIII'IIIII. lle \IIid “I \\;l\ lnnking III e\eI'_\nIIe shilling IheiI' I'IIees. IIIId IlInIIglII I um fie/111112 Inr Inn?" lI's \\nI'\e IlIIIII \‘ieIIIIIIII. \\lIeI'e \nlIlieI's returned In pl‘nlesis Him llie} I‘eIIII‘II In IIpIIIh} IInd IIIIImIII‘eIIess. We anI‘I gel IIII) inI'nI'IIIIIIinII.‘
III l’IIIIl .-\llIIIIIn\ li’nmln'rx ' Run Iheies IIlsn II
‘WHAT WE CALL BALANCE IS REALLY JUST A DESIRE TO MAINTAIN THE STATUS QUO'
\ll‘IIIlg L‘HllllllL‘liltli‘} (III llim \\ e (IIINHL‘ ln \I'e (Illl‘\L‘|\L‘\. IIIId lInu Ihe IIIediII IIIleels lil|\. 'l‘he IIIII} \peeIIIIIIes nII II I'eIIl—lil'e lllL‘L'lllljJ heIIIeeII RIIIII/i Ytlllu‘iI IIIIIIInI‘ nI Ihe Ill'\i \\Hl'|Ii II'IIde eeIIII‘e IIIIIIek. Ihe l'IIIIhnIIIheI' 'l'ed Kilt/)lhixl. Ihe ()klIIlIIIIIIII ('iI_\ hnIIIhei' lllllUlIl} \ieVeieh. IIIId II l'nIII'Ih prixnnei'. II llHlUl'lIIlh ('IIhIIII Iil'llf.‘ InI‘d. .-\llIIIIIII\ Pill} L‘\;lllllllL‘\ Ihe IIIediII new} IlIIII \lll'l'HllllIiL'Ii IheIII. 'l'lIis didII‘I \llllpl} IIlleeI Ulll' IIIIiIIIdes. hIII \lInu ed II eeI‘IIIiII IIIediII \L'il ennseiniisness iII Ihe IIIeII lllL‘llIxCl\L‘\.
:\illll;lll \II} \. Ville} ik‘eillllL' L‘ClL'iH'lllL‘\ ill lllell nu II minds. lllllIIIil} .\le\'eig_'lI I'eIeI‘I‘ed In IlIeIII il\ Ihe .-\—IeIIIII. He hIId IX IIIIII'I‘iIIge pi'npnsIIls \\ lIile lIe \\;l\ nII deIIIII I'n\\. \Ve I'III‘elied them in II \III}. IIIIIkiIIg IheIII iIIIn lllIIll\lL‘l'\. l)ne\ iI I'eIIII} \Cl'\c \nIIIe pIII‘pnse In lllilixL‘ IheIII \peeiIIl lil \UlllL‘ \III}'.’ The media II‘ies In [liIllll IheIII ll\ lIIIIIIIies. \Iild IIIeII. pIII‘IIIInid \elIi/anII'eIIies. IIIII}he heeIIIIse Iheyi'e sending; Ihe lllL‘\\LI:_'C. "anI‘I IisIen In \IIIIII Ihe} 'I'e sII} iIIg".‘
('nIIIIIIeIIIiIIg nn [his legeIIIlIIr} lllL'L'llllfJ. IIeInI' l);I\id ('IIl\iIIn s;I_\\: The} anI'I IIIlk IIhnIII IlIeiI' IIL‘IIHIles. MIMI} Ihe} talked IIhnlIl [he IIIn\Ie\2 \xhieh \\Ll\ IlIeiI' lilHilll‘llL‘ (wilful/1w IIIn\ Ie. Ihe} pIIssed diI‘I} lllilgLI/lllc\ had and I'nI‘IlI. Ihe} IIIlked IIhnIII \Ul'\l\;Ill\I IeehniIIIIes IhIII's \\lIIII\ \n hi/III‘I'e IIhnIII iI. These gins the} described ;l\ l)I'IIeIIlII. IlIe \anl’ MIIII Iind i‘I'IIIIkensIein mighl jusI LI\ \Iell lime been walking inIn IIn InerIIge hIII‘ Ingelheiz'
RielIIII'd “Idkerk ’l‘lu' Rut/w! is II nIIe IIIIIII plII} IIhnIII II Baghdad \IIII‘ repaneI'. \Ihieh explnres