Paweł Szkotak managed to translate the reality of the war into an ambiguous metaphor that concerns Sarajevo as much as Auschwitz. Carmen Funebre, based in part on the accounts of refugees from Bosnia, is a series of dynamic, predatory images of violence and death. In this simplicity and poster-like poetics imposed by street theater. Szkotak, however, retains a good artistic taste, which can be seen in the selection of music (including Penderecki), in the raw and functional stage design, in the beautiful visual composition of the space. Crowds of viewers attracted reviews in major English and Scottish newspapers; “Stunning dramatic experience” (Evening News), “Bitter catharsis” (Daily Telegraph), “Unforgettable spectacle, terrifying, electrifying, played with total energy and commitment” (Guardian), “Scary, strong theater” (Independent). After the team had left, the Scottish Herald called: “Wake up Edinburgh! At last, a theater that has something of an exciting momentum that is so terribly lacking in this year’s Fringe, writes Roman Pawłowski about the theater’s performance at the Edinburgh festival.