What happens when the character from the performance Dreams and Obstacles whirls around and around, only to find herself in the new performance Perchance to Dream? That spin-off leads to new images that question leaving one’s own country, life in art, the possibility or impossibility of choice, and the value of a dream. [2016]

Every day, on her way to her theater, a young woman sees the same man. Surrounded by his unpacked backpack and his instruments, a blanket with exotic ornaments draped over his shoulders, he plays. They do not share their mother tongue, but they share different languages that transcend speech. She tells him, or imagines to tell him, the story of her life. He replies with his music.

They try to find the sense of their life choices in a world where people are forced to abandon their countries in order to save themselves, in a world where sometimes, it is more important to follow the thread of Shakespearian dreaming.

The totalitarian mind would like our life and our dreams to be nothing, not only from the point of view of some constructed totality, but also for ourselves, for each of us individually. DAH Theater’s  “Perchance to Dream!” (2016, directed by Dijana Milošević) opens windows for us and frames (literally – scenically) our little lives and little dreams, which we should not allow anyone to convince us that they’re the same as everyone else’s, and irrelevant from the standpoint of the whole. And who determines what is and what that whole must be – somehow they always fail to tell us that.

her developed and mature stage presence, Ivana Milenović Popović plays her life and her dreams, and the interaction with the musician (Uglješa Majdevac) enables that presence to be defined as such – stage, the game overcoming the dichotomy between reality and fiction, life and art, fantasy and reality, dreams and wakefulness. And of course, it’s a play about both art and the artist: because what if, after a long and hard acquisition of artistic skills, “working on ourselves”, again – but this time just like artists – we face a hard wall of reality, when we realize that for us, and that for us as artists, again there is no exit and no escape, no secret key, and the burden we have taken on is not at all easy. Everything but to speak our piece would be cowardice and a crime, and finally as artists we must act. That sometimes the word is not only for us, but also for someone else, for some others, who are starving in us with anticipation and hope, with the feeling that we owe them something. That as artists we must be able to put ourselves in the place of another, others, sometimes in the place of so many others that their number is not even known, because others should never be a number. And where no one is a number anymore – art would have to be born there.

– Vladimir Kolarić, writer, theorist of art and film [excerpted from ‘TO THE LAST BREATH’]

Direction and dramaturgy: Dijana Milošević
Actress: Ivana Milenović Popović
Texts used in the performance:
Ivana Milenović Popović, a fragment from Hamlet by Shakespeare, text by Irene Meier from the book Women’s Side of War, text by Jugoslava Hadžić from the performance ‘Dreams and Obstacles.’
Musician: Uglješa Majdevac
Music: P. I. Čajkovski, C. Nielsen, D. Brubeck, Slovakian folklore themes, Buldožer,
W. Lutoslawski, I. Stravinski, U. Majdevac
Scenography: Neša Paripović
Costume: Ivana Stanković
Light Design: Milomir Dimitrijević
Photography: Una Škandro
Public Relations and Organization: Nataša Novaković

DAH Theatre would like to thank: Jadranka Anđelić, Zoran Lazović, Maja Mitić, Shira Wolfe

DAH Theatre’s special thanks go to Irina Kruzhilina for costume concept.

Realization supported by: the Ministry of Culture of the Republic of Serbia