The violent death of a young Serbian girl during the Serbian-Croatian conflicts of the early 1990s becomes the subject of a theatrical play. Instead of focusing on the show itself, “Srbenka” turns its attention to conversations between actors throughout the rehearsals and the feelings each experience as a result of the horrors of war. The empty stage makes way for a series of scenes proving, through the actors’ confessions, that the ethnical tensions and mutual hatred persist still even between the younger generation who hadn’t been born yet when the war was being fought. Having Serbian origins in Croatia is still considered shameful, and many conceal it. Through its collective discussions scenes, a kind of group therapy, “Srbenka” follows a process of reconciliation with both one’s own history and the national past, making an appeal to tolerance in a current climate of fierce division among Eastern European countries, still spiralling in a vortex of ethnic rancour, unjustifiably propagated forward from generation to generation. (Teodora Leu)