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During these three weeks, students work with the director and co-founder of DAH Theatre, Dijana Milosevic and a DAH Theatre actress, Ivana Milenovic Popovic.

The first ten days focus on the actor-director process, including developing a director’s montage and exploring the actor’s process for their own dramaturgical contributions to the final performance montage. In the last five days the focus will be on personal projects you are currently devising. We offer you our mentorship, assisting you to find how these processes can integrate with the work you wish to do in the future.  During this final week, you will work on your own piece with director Dijana Milosevic and other professional DAH Theatre actors.  We anticipate that new creative energy might inspire new work and a new direction for you and we are happy to assist you in devising a new piece with us.

The work will happen at DAH Theatre space in the city center and outdoors by the river and at Dijana Milosevic’s personal houseboat.

10:00 – 16:00 Monday – Saturday (with 1 hour lunch break)
All classes and discussions will be in English.

APPLICATION  DEADLINE  IS  JUNE  15, 2020                                                             

Please note that the fee covers the program, tuition, and tickets for all performances and programs during the School.  (The School fee is 300 euros only for Serbian citizens due to the economic situation of this country.)

Reservation for the DAH Theatre School will be confirmed by your advanced payment to our Bank account (contact us for the payment instruction) of 30 % of the participation fee (165eur) by June the 20th 2020. Without bank charges for DAH Theatre. The rest of the fee (385eur) should be paid the first day of the School or you can pay the whole amount via Bank account.

The cost of travel, accommodations, and food is not included.


You can apply here

You can also download application in .doc format here, fill it up and send it to:

If you have any questions do not hesitate to ask us
Ivana Milenović Popović,
+381 64 1548003 cel.


You all gave enormously and patiently of yourselves, your time, your passion and your art. You have re-inspired me with a model of life and work – of the possibilities if one works hard and fights when needed. You have helped me to believe the power of my imagination and my dreams.

Electa Behrens (USA)

The DAH Theater method has given me new angles on how to approach and achieve the stage presence, initiated by the balance and double-direction principles, and consolidated in the belief of the necessity of synergy of voice, movement, and intent. I discovered the power of association and montage, the importance of trust and teamwork. Everything happens spontaneously, without the pressure and just at the end of the process, one realizes how much one has enormously progressed.
Ivan Nikolic, actor (Serbia)

For an actor looking to explore various forms and techniques – DAH offers an extensive exploration through body and voice in space. I personally enjoyed the physical and vocal training, rigorous as they are, they help in understanding one’s own body. Movement in space, the understanding of distance & direction in space. Combining this with vocal training and providing techniques, practices that can go a long way and become a part of your daily routine. Creating montages, and ensemble work is one of the strongest take away from this school, as you learn techniques and ways to create montages, working in an ensemble with people from all over the world, helps you understand artistic uniqueness in each one of them and how you can learn & collaborate. A sense of belonging is what you feel when you step into DAH.
Vedanth Ramesh, actor (India)

After spending three summers participating in the International School, I found myself among committed, highly experienced, politically aware artists. These three qualities have been central for me, since the first time, entering the doors of the theatre in 2009, and are probably the reason I feel at home every time I return. The great passion, love and knowledge which is connected to the work of this group, and the conversations in which I regularly find myself in the space: about European politics, engagement and the great need for arts, created an urge to spend more time in these surroundings, and to exchange also my own work with the people who inspired me the most.
Petra Adlerberth-Wik, director at Implodera Scenkonst, Sweden

I sought out Dah’s training while a directing student within UCSD’s MFA program while studying under Gabor Tompa. Much of his pedagogy dealt in the scholarship of path-breaking directors- many with a performance style unique to their project as an artist, commonly requiring actor training. 

As a director I was intrigued by the creative invitation offered by Grotowski to his actors: to generate a performance score that he would collaborate with them upon, as director and editor. Prior to this research, I had only heard of ‘montage’, for example, in relation to cinema. Much can be read on how this score, or actor’s dramaturgy, was accomplished, but finding a company that actively practices the technique can be challenging. Dah has a heritage. They came out of Odin, and Barba came out of Grotowski’s theatre of productions. This signaled to me that a direct thread to the source of this kind of work can be found in their methodology (although they’re artists with their own signature, to be sure). 

In addition to the legacy of their technique, something else worth mentioning is their willingness to teach, and to teach clearly. They are rigorous but generous, fierce but kind, and, above all, they are interested in your work. They took measures to see that what I learned from them could be related back to what I hope to do in my own rehearsal room. Months later, I found that what I had learned, I was able to apply. I’ll remember fondly the time I spent with Dah Teatar in Belgrade.
Nick Rapp, director, USA


In 2016, Lexington Books published the DAH Theatre: A Sourcebook edited by E. Dennis Barnett, foreword by Eugenio Barba.

Dennis Barnett has assembled a most informed and engaging sourcebook on DAH Theatre, one of the world’s definitive companies working in social conflict contexts. A work of great breadth that offers a meaningful and enjoying read to the historian, the scholar and the practitioner, while ultimately managing to paint the rich portrait of a living theater and of the people and societal circumstances that breathe life into it. This is a necessary and revelatory book. – Roberto Gutiérrez Varea, University of San Francisco