DAH Theater is synonymous with the local independent scene. It's been around for 35 years, which is an incredible achievement in the circumstances here. During that time, he realized more than 45 theater productions, 7 of which are in the regular repertoire; 18 festivals, 25 European projects and more than 20 international and local projects, and held over 2.600 performances in Serbia and in more than 40 countries around the world.
The independent cultural scene, especially in Belgrade, has its active and rich life in parallel with the institutional scene, but not equally. Namely, society takes care of this segment of culture only as much as it has to and when artists rebel, and it is not sufficiently covered by the media and therefore insufficiently receptive to the general public. We talked about this with Dijana Milošević, the director and director of DAH Theater since its foundation, and a professor at the Institute for Artistic Dance of "Beopolis University" in Belgrade, and all this on the occasion of the mentioned big jubilee of DAH Theater.
"WEATHER" What it was like to start 35 years ago? What were the circumstances in society, audience taste?
DIJANA MILOSEVIC: In June 1991, the circumstances in society were dramatic, a bloody civil war had just begun. Jadranka Anđelić and I, who co-founded DAH Teatar, had a very precise idea: we wanted to work in the tradition of theater laboratories, from Stanislavski and Kopo to Barba and Brook, which meant research work in the conditions we created, work in very safe circumstances of a closed space, for a small number of dedicated audiences. We did not want to engage in political theater. Those who engaged in political theater at that time did not ask the right questions, they were not brave enough, and political theater at that time in our country did not include responsibility and real criticism of society. However, the complete opposite happened: our first play was an anti-war play This Babylonian confusion according to the poems of Bertold Brecht, it means political theater. We played it in very uncontrolled and dangerous conditions, outdoors in front of the Cultural Center of Belgrade for hundreds of people who were not invited theater audience, some of whom were in uniform and carrying weapons. That huge change in relation to our original intention happened because a war started in our name, which was initiated by the government of our country at the time, and we had a great need to say that we do not agree with that war, to ask important questions about the responsibility of artists in dark times, to ask if theater can help oppose senseless destruction and contribute to peace. The audience's response was so incredibly positive, that I have been saying since then that I stayed in the country because of that, because at the very beginning of our journey I realized how much we are needed here. That's how it all started and that first performance completely defined us, all these years we have been dealing with the moment and the place and the social circumstances in which we live and create engaging theater.
Was there an independent theater scene at that time??
It is not, neither theatrical nor dance. They existed projects or amateur work and institutions. We were the first independent professional theater troupe, with the idea of existing and living off our work for many years. The position of a pioneer has its good sides, we promoted many concepts of contemporary theater here. But it's also a lonely position and I'm very happy that there is a big independent cultural scene today.
Despite the almost non-existent working conditions?
This is unfortunately true as our country does not need free thinkers. The independent scene, which consists of actors and actresses in culture who not only think freely but also express it very articulately in public, is very inconvenient for the government. So the government has two tactics: one is to ignore and not finance the independent scene, and the other is to try to win over certain actors, either with money, or by providing space or other conditions for playing plays. In this way, the government tries to control the independent scene, but fortunately, the number of those who agree to this is not large.
What do you think about the invitation that Expo recently sent to the Independent Cultural Scene of Serbia, which they refused?
The representatives of the NKSS, on behalf of all members of the independent scene, expressed very clearly what they thought about that invitation. To quote part of the answer: "The regime that employs you for years systematically suppresses and destroys any independent artistic production, for political and ideological reasons, while the media that promotes your event at the same time slanders our organizations and members. In such circumstances, your 'heartfelt' address seems to ignore the fact that you function under the auspices of institutions that canceled competitions, shut down programs and left authors without basic means for work and life".
In the history of our country, such destruction of culture by the authorities has never happened. We know that the Expo does not bring anything good to our culture, but only profits to certain individuals. In such a context, I think that participation in any cultural program of the Expo is shameful.
What is the relationship between the DAH Theater and the Ministry of Culture, do you apply to their competitions?
We apply to the tenders of the Ministry of Culture because we believe that it, like other ministries, lives from funds which are, in fact, taxes that we citizens pay. Every ministry should be at the service of its citizens, and the Ministry of Culture should encourage the development of a country's culture. Unfortunately, especially last year, a shameful thing happened that the Ministry did not announce the results of the competition because the funds were obviously withdrawn for some other state needs, that in the competition that it finally announced this year there was no call for theater arts, and the theaters were obviously politically punished because they supported student protests and all in all behaved as if they were a party branch of the ruling party and not an institution that should defend the culture of this country. Not to mention the non-transparency of competition commissions, phantom organizations that are given huge funds without any valid curriculum vitae, etc.
Is it true that they are DAH Theatre?, and our independent scene globally, better known and respected abroad than here?
We cannot talk about the independent scene in general, although many artists from the independent scene achieve success and are recognized abroad. From the very beginning, DAH Theater was recognized in the world, which meant a lot to us and still means to us. The first and only book about the DAH Theater has so far been published in the USA, and the editor is the American professor, actor and director Dennis Barnett.
The motto of DAH Theatre is "resistance to destruction". You say that destruction should be fought with meaning. Forwards, in the destruction all around us, what else makes sense?
It makes sense to speak publicly. A huge meaning is solidarity, also creating a place where one can think freely and speak freely. Meaning is common thinking in a concrete physical space. Every performance of an independent scene, concert, exhibition, represents a place of meaning. And not only independent scenes. Our colleagues from institutional theaters have shown it. The point is to get out of our small circle, where we are isolated, scared and only mind our own business, to participate in various actions that restore the voice of every citizen.
What would you advise a young colleague who is now starting to create her own DAH Theater?
I would advise her not to give up on her dreams - to dream radically. It is time for a radical approach, radical solidarity, radical hope. And I would advise her to look for her "artistic family" abroad as soon as possible, not to agree to the narrowness and isolation imposed here, to travel with her work, but also to return. And I would tell her to start a very difficult but unimaginably beautiful path and to be ready to continue despite the circumstances. And that he works very hard.
DAH Theatre ID card
Dijana Milošević: "DAH Theater has always been based in Belgrade, although we have often moved and changed premises. We are now at Mackenzieva 79, where we have settled with our various activities and have a small studio. We are organized as a professional artistic collective that is very horizontal in structure and decision-making. There are eight of us in the closest team, with circles of collaborators - performers, musicians, artists of various fields, technicians, marketing experts. Our team, in addition to Jadranka Anđelić and I are made up of actresses Ivana Milenović and Milica Petrović, who in addition to acting are in charge of various management tasks; Dragana Živanović, who is in charge of finances, and Meri Zec, who is in charge of social networks.
Our full name is DAH Theater Center for Research on Culture and Social Change. In addition to the creation and production of plays and the first and only festival of its kind in our country, "Art and Human Rights", we collaborate on numerous artistic and educational projects, we have various educational programs, we organize guest appearances by artists around the country, and we ourselves tour a lot around the country and around the world.
We play on different stages: currently it is the "Parobrod" cultural institution, occasionally we are guests at the Center for Cultural Decontamination, Bitef Theater. DAH Theater has also been working in the public space and the so-called from the very beginning. website specific performances, then performances The trees are dancing., which deals with raising awareness about the importance of trees for our lives, especially in cities, we regularly play in the Student Park. We are very much looking forward to playing our smaller forms in the new space".
