Ah, alienation. Once upon a time it was the Marxist explanation for why capitalism could exploit the proletariat. Now, it's a handy catch-all to describe the human condition. While I can't claim to have a complete understanding of the concept, I probably live it, so picking out five works that express the anxiety of contemporary existence ought to be a breeze.
Making the list even easier is The Stranger, an old school monologue straight from the pages of Camus' existentialist classic. Guilherme Leme is alone under the spotlight, telling the story directly and with the polished aplomb of an actor who has been a fixture on Brazilian TV throughout his career. There's no surprise twists - the hero wanders through his life, kills an Arab, gets tried, becomes a symbol of monstrosity for the local community, especially for his atheism - but Leme holds the attention and builds the sense of utter meaninglessness through his measured, nuanced delivery.
If The Stranger offers any respite from Camus' bleak vision of a reality uninhabited by the divine or even compassion, it is through Leme's style. A mixture of a bed-time story for Gaulois smoking adults and a Film Noir detective voice-over, his presence, and talent argue that meaning can exist in the sheer joy of experiencing another human revealing truths. So - perhaps the last word there goes not to alienation but art's ability to reconcile.
Summerhall, 3-25 September
A more explicitly political version of alienation is arriving at Dance Base later this week. Last time they came to the Fringe, Sanpapie got in a van, loaded it with food, and drove from Italy to Edinburgh. This time, they come fully prepared, starring an ex-footballer and ready to respond to the frustrations of living in contemporary Europe.
I am Son takes its cues from a poem that references the revolutionary generation of 1968, trying to understand what it means to be, and how our history defines our legacy. "Let's say it is a a show on the West by young Italian schizophrenics," say Marco di Stafano and Lara Guidetti (co-director and choreographer).
Seeing themselves as Western European rather than merely Italian, Sanpapie fit beautifully into the grand tradition of experimental live art and dance theatre: "the absolute masters are Pina Bausch , Marina Abramovic, Sasha Waltz, Wim Vandekeybus, Constance Macras," says Guidetti. The two art forms themselves that evolved from the twentieth century's struggle to cope with its own idiocy, shattering the traditional alienation between word and movement, idea and image to encourage an immersive, immediate engagement.
Dance Base, 16- 25 August
If setting up a bunch of shows called "the alternative Fringe" and declaring war on the big venues is any guide, Bob Slayer's pretty alienated. In person, he comes across as balanced and charismatic and his actual show sounds as if it incorporates self-deprecating wit, improvisation and a philosophical challenge to traditional concepts of stand up. Slayer would probably laugh at any pretentious attempt by me to define his work, and since one show featured his aunt wiping his bum, he'll probably be happier if I shut up.
Slayer used to be a tour manager, and his career started on stage started as the guy who would get pelted by fans of the Bloodhound Gang when they had a mid-gig fag break. His approach - half abrasive, half generous - will probably alienate some members of the audience. He's in.
The Hive, 3 -27 August
Although Marxism has managed to pretend that it is the only socialist path, there has always been a counter tradition that comes from the UK, and eschews the revolutionary for a more democratic critique of existing power structures: that what the Labour Party used to be. The world's first two handed version of The Ragged Trousered Philanthropists comes from a novel squarely in this strand: a team of house painters are joined by social justice enthusiast Owen, and hilarity ensues.
Hilarity in the sense of Owen's attempts to inject a social consciousness into his fellow workers, that is. Written by a bloke who has done loads of Coronation Street episodes, this version of The RTP is plugged into the warmth and wit of northern working class theatre, and comes just at that time when the Coalition Government is doing its best to - hang on, what are they up to? I mean, I see the things they do, but I can't see any logic or sense in it.
Like many of the works in this political quarter, it emphasises not the big ideas but the daily reality of working class life. While there is an argument that political theatre is best aimed at contemporary wrongs, The RTP is more than nostalgia: it is a reminder of where this nation has been, and how we got past the excesses of industrial capitalism.
Assembly George Square, 1 -27 August
Finally, I need to give some love to the Creative Martyrs. Fringe veterans, Glasgow legends, a pair of misfits who flutter between cabaret and esoteric Eastern European mime, a pleasure to watch and the inspiration for many an uncomfortable post-show conversation. This year they are going their greatest hits, which will include songs about babies being bred for the purpose of being a bank of spare parts, warnings about the secret agenda behind supermarket loyalty cards, chuckles at the end of the world and the fun parts of war that people so often forget in their rush to condemn those hard working business men in arms manufacture.
Oh, it's a comedy show. After a fashion.
Voodoo Room, 1 -27 August
But who can feel alienated in the Edinburgh sunshine? Who can feel lonely in a crowd on the Royal Mile? When every show is full, and stars are being found on every street corner? Who, I ask you, who?
It's all part of the smiling capitalists' trap, man. Say yes to alienation.
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