DIJANA MILOŠEVIĆ

Dijana Milošević is a theatre director, co-founder and artistic director of DAH Theatre in

Belgrade, Serbia, the first theatre laboratory in her country. In addition to directing socially 

engaged theatre works, she has worked on issues of violence against women with the activist 

group 'Women in Black', performing stories of women from Kosovo, Bosnia-Herzegovina, 

Serbia and Croatia.

Dijana Milošević is a theatre director, co-founder and artistic director of DAH Theatre in 

Belgrade, Serbia, the first theatre laboratory in her country. She is the co-funder of Natsha 

Project (an international theatre network) and ANET (Association of Independent Theatre 

Groups in Belgrade). She served as artistic director and programmer for different theatre 

events and currently is the director of International School for Actors and Directors of DAH 

Theatre. She tours with her work, gives lectures and workshops round the world. She also 

writes essays about theatre for different national and international publications and 

magazines. In addition to directing socially engaged theatre works of high aesthetic quality, 

Dijana has worked on issues of violence against women with the activist group Women in 

Black, performing stories of women from Kosovo, Bosnia-Herzegovina, Serbia and Croatia. 

She directs an international theatre school every summer, and has taught at US colleges and 

universities on several occasions.

DAH Theatre 
 

DAH theatre is an experimental Serbian theatre group founded in 1991 by Jadranka Anđelić 

and Dijana Milošević, who had originally performed on the streets of Belgrade to protest 

against the government’s acts of aggression. It produces politically driven, movement-

oriented works 

In 2003 DAH Theatre enlarged its activities by founding DAH Theatre Research Centre 

(DTRC) to deliver an ongoing program of workshops, lectures, seminars, guest performances 

and festivals. The work of the Centre is aimed towards a constant exchange of knowledge, 

experience and ideas amongst artists and participants from various theatrical and national 

traditions.

In the last two decades, through their work, the members of DAH Theatre have strongly 

opposed war and violence. In 1991, when the war started in Yugoslavia, DAH Theatre 

immediately had to face questions such as: "What is the role and meaning of theatre? What 

are the responsibilities and duties of artists in times of darkness, violence and human 

suffering?'' The group decided to interrupt their work on the performance "Gifts of Our 

Ancestors" to begin work on a new piece that could provide them with the answers to these 

questions. Dah's first performance "This Babylonian Confusion" was based on the songs of 

Bertold Brecht. An anti-war performance; it was presented outdoors in the centre of Belgrade 

at a time when it was forbidden to even mention the war.

DAH is committed to social justice, healing the wounds of war and fighting the nationalist 

agenda in Serbia, armed with the belief that the world can be changed through its 

performances.

Under the leadership of Milošević, DAH has performed on every continent and trained 

hundreds of performers from around the world in its International School for Actors and 

Directors, recently renamed The DAH Theatre Institute.

http://www.dahteatarcentar.com/index_eng.html

Performances include:

In/Visible City, originally performed in 2005 in Belgrade, it is essentially a street 

performance staged on a working city bus.  

Crossing the Line based on texts from the book Women’s Side of War – a collection of 

women’s testimonies about wars which occurred in the former Yugoslavia from 1991 – 1999. 

The aims of the performance were to establish a process to deal with the past, reach the 

audience emotionally and psychologically as well as to encourage women to start talking 

about their experiences, the past and to participate in building democracy and peace.

Presence of Absence (2013) part of The Power of Remembrance project dealing with the post 

traumatic memories of family members, particularly women, who are missing relatives and 

need resolution since the wounds caused by disappearances can undermine relations between 

groups and nations and can prevent society’s healing. Theatre is used to record the efforts for 

resolution and deal with topics such as, how to make a place for remembrance, how can 

absence be recorded, how to prevent these horrors from happening again.