The Nastasijević Code (2010)
Blic online/imaginarno realni svet negdašnjeg Beograda
Glas javnosti

Crossing the Line (2009)

Daily newspaper Danas, October 2011

The performance Crossing the Line, which has premiered two and a half years ago, directed by Dijana Milosevic , did not have any chance to participate at festivals nor to be in competition for some of the prestigious awards.  In this performance (like in many others) there are no victim’s names pronounced, no incest traumas happening in Sarajevo while snipers are killing its citizens. There are no inflammatory nationalistic platitudes ironically shouted in cabaret manner.
Based on the book Women Side of War, published by Women in Black organization, actresses Sanja Krsmanovic Tasic, Ivana Milenovic and Maja Mitic are speaking out words of mothers from Srebrenica whose children were killed before their own eyes, words of raped women and witnesses of other horrible atrocities. Performance Crossing the Line is the one and only true politically engaged performance that we have chance to see in Serbian Theatre since October 5, 2000.  

Zlatko Paković

Law Text Culture (Australia), January 2011
Bljesak, BH Internet magazin

Politika
"Composed of personal confessions of mothers whose children were killed in front of their own eyes, raped women and witnesses of other war horrors, the performance “Crossing the Line” asks a question: How to establish trust between people of once warring powers? How to establish a dialogue between both sides with their traumatic experience: between the victim and the innocent that belongs to a collective that in his name produced a victim from a member of the other collective.
   How to cross the line of undeniable crime, how to cross the line of pain that cannot heal, the line of burning embitterers and immobilizing shame? How can the victims be touched by the shame and suffering of those who were on the other side; how to, without fear, reveal our own emotional sympathy to the victims from the other side? 
   To establish the trust between nations and states – to, actually, take remove the burden of shame from the conscience of innocent people, despite of whose will and in which name the crimes were sowed - it is necessary that this country finishes with the politics of crime.
   Until all of that is really done, voices of conscience that are “crossing the line” can only be heard from the realm of alternative culture." 

Zlatko Paković, Politika, May 2009

The Story of Tea (2006)
Jat Review, Aprli 2007

Dnevnik
“The Story of Tea is conceived as a combination of texts in which Chekhov’s drama Three sisters plays a key role.
A story that three sisters of Dah Theatre are experiencing in “the train to Moscow” is the story of some other time, some other country, and it is all about the traumatic experience of life and death games in Serbia in previous decades. 
(...)
On the realm of theatre language Dah Theatre develops an outstanding musical and theatrical play, spiced with brilliant acting and ornamentive choreography of Aleksandra Jelić, Sanja Krsmanović Tasić, and Maja Mitić. Supported by the music and acting of Jugoslav Hadžić, Aleksandra Damnjanović and Nebojša Ignjatović, the three sisters leave a profound impression of scenic presence, amplifying it with direct, face-to-face provocative contact with audience."  

Igor Burić, Dnevnik 2007

Vreme
"The subtitle of performance The Story of Tea is adequate: it is the variation on the theme of Three Sisters, A. P. Chekov. Beside only a few small texts taken from Chekov’s drama the main motive is - the longing of sisters to go to Moscow. This motive is than developed and amplified, and so the idea of traveling gains new connotations: from connecting different civilizations, to the collective remembrance on crime.
The motive of connecting civilizations moves our interest from subtitle to title. The Story of Tea begins like a cheerful “salon ritual” of serving and drinking tea.  Three actress dressed in costumes from Chekhov’s époque are pouring tea, tinkling with tea cups, serving tea to the audience and while speaking texts from Okakura’s   “Book of Tea”.(…)
(…) The circle is definitely closed when the audience are given miniature tea candles in their tea cups, again in complete silence, a pleasant beverage becomes a votive light, just as a joyful tea party, in which plans are made for the trip to Moscow, becomes a vigil to those whose life journey is brutally and harshly interrupted in some Balkan desolate place called Štrpci.
This above analysis is the attempt of a critic to reconstruct, probably in a very personal way, an extremely complex and demanding artistic concept with sharp ethical implications. This concept was developed in the close collaboration of the director Dijana Milosevic and the performers Jugoslav Hadžić, ,Aleksandra Jelić, Sanja Krsmanović Tasić and Maja Mitić, though a work process characteristic to the work of DAH Theatre. Besides the stories mentioned in this text there are many other metaphorical, poetic, minimalist, stylized, ritualistic and clearly associative scenes. All together they form a whole."

Ivan Medenica, Vreme, 2006

Magazines about Dah Theatre

„Law Text Culture“ (Australia), January 2011
„Theatre Forum“, Decembre 2010, No  38

„Tmača art“, br 39. February 2008
„Contemporary Theatre review”
„Jat Review”  April 2008
„Jat Review”  June 2008
„BelGuest” Winter 2007/08
"Jar Review" April, 2007
„ANSCHLÄGE’das feministische magazin” February 2007
„Theatre Journal“ December 2007
“Orchestra” br. 40/41, April/November 2006
„40. BITEF”  2006
“Orchestra“  Br.38/39, January/March 2005
„The Open Page”  No.10 ,  2005
„Jat Review”  (Special edition) CULTURE 02/03
„Scena“ – March/April 2002
„Jat Review”  2002/6
„Theatre Forum” 2002, No21
“Orchestra”, No22/23, 2002
„Art Papers“ March/April 2001
“Southern Theatre” No3, Summer 2001 
”Connection” 2001
“Stikkordet”,  No4 2001 (Sweden)
„Beloit College Magazine“  2000
“Ludus“ Br. 67, September 1999
„Magdalena Aotearoa“ , September 1999
ŽENE NA DELU - Bilten ,  8/9
„BELEF 98”, 1998
“INFANT” Festival Info/Bilten No4
“Chain” No9
“Danas”,  1998
“Unesko glasnik“ No3
"Pozorište danas" 1998
„Scena“ 1998
Žene u crnom, Belgrade, 1997
„Voice of Isidora“, March 1997. No5
“ The Magdalena“, October 1997, No 24
„Voice of Isidora“,  January/ February,  1997.  No13-14 
„FIAT” , Podgorica, 1996
„Nezavisni“, November 1996,  No197.
„Theatre Journal“, December 1996
„Beorama“, May 1995 No2
„Beorama“, October 1995 No47
„Dygnet Runt“, Sweden, August 1995
 “Scottish Drama”, Winter 1995, No4
“ The Magdalena“, March 1995, No 16
„The Magdalena“, February 1994, No13
„Novi Pančević“, May 1994,  No56
“Scena“, May/August 1994,  No4 
„New moment“, Summer 1994, No 2
" Književna reč”, April 1992,  No393-394

Books about Dah Theatre:

-     TRANS-GLOBAL READINGS - Crossing Theatrical Boundaries
 Caridad Svich, Manchester and New York, 2003

-     Radical Street Performance and International Anthology
 Jan Cohen-Cruz, London and New York, 1998