Mitrović’s concept is absolutely brilliant in the way it combines political speech-making with the type of reality TV show in which the audience votes for the participant of their choice. – by Jackie Fletcher, British Theatre Guide, 12-05-2013, (in English)


Sanja Mitrović brengt met Speak! een intrigerende voorstelling over hoe mensen zich laten misleiden door mooie woorden. – ****  Elfriede Clijsters cobra. be, 10-05-2013 (in Dutch)


In Speak! legt theatermaakster Sanja Mitrović zich toe op de speech. Vorm en inhoud variëren, maar de emoties achter de woorden blijken cruciaal als het om overreding gaat. – ****  Moos van den Broek, Theaterkrant , 16-05-2103 (in Dutch)



Het best zijn de theatrale grapjes waarmee Mitrovic de ernst soms verstoort.- **** Mirjam van der Linden, Volkskrant,  5-18-2013 (in Dutch)


Interessant aan het feit dat je een winnaar moet kiezen, is dat het de toeschouwer aan het denken zet waarom hij de ene speech beter vindt dan de andere.- ***Robbert van Heuven, Trouw, 18-05-2013 (in Dutch)


Het vernuftige aan ‘SPEAK!’ is dat we pas na afloop van een stemronde te zien krijgen van welke wereldleider de speeches zijn geweest waarop we zojuist stemden. Dat bijna veertig procent op deze wijze ‘koos’ voor (een speech van) Hitler zet aan tot nadenken over de invloed van onder andere retorica en charisma op ons stemgedrag tijdens verkiezingen.
- **** Jasmijn Sprangers, , 19-05-2013 (in Dutch)


n.a.v. van de Paradevoorstelling: ... Een geraffineerd en boeiend college taalbehandeling.- Vincent Kouters, De Volkskrant, 7-7-2014  (in Dutch) 


n.a.v. van de Paradevoorstelling … Sanja Mitrović en Matthieu Sys brengen de speeches met een bijzondere overtuigingskracht. - Cultuurbewust, 14-07-2014 (in Dutch)


L’Envolee Culturelle, 25 -10-2015 (in French)

‘Sometimes this play is brilliant, particularly when identity and irony engage in a playful liaison.’

‘Geert Vaes is magnificent in his role as the underdog Flemish Belgian who wins out in a most superior way.’

***Kester Freriks, NRC Handelsblad


Europas vitale Körper by Annette Hoffmann,, 03-09-2012 (in German)


Interview with Sanja Mitrovic (in Dutch) by Wietske van der Want (






“Because of it precise combination of plot and space, of movement and story, Daydream House slowly and elegantly tricks the audience into the all too human desire for reality.“

- ‘The desire for reality – Daydream House, by Sanja Mitrovic and Laurent Liefooghe’ – Christophe Van Gerrewey, IT – Thingly Variations in Space, 2011

“Performances like DayDream House make use of the physical presence of both the performers and the spectators in the theatrical space to create a complex web of points of view. Such performances make us aware that theatre is a very powerful medium with the ultimate potential to illuminate our human existence. Maybe more than any other art.”

- extract from the text Come on Board, Shifting Points of View in Theatre - Maya van den Heuvel-Arad, 2011

(…) “En hoe kil, klein en doorzichtig het (huis) ook is, na een tijdje lijkt het echt alsof ze hier al jaren bivakkeert. Zo gemakkelijk manoeuvreert ze door de overvolle ruimte.”

- Vincent Kouters over Daydream House (in Dutch), de Volkskrant 29-05-2011

(…) “Subtle and understated, Daydream House brings together numerous cultural inheritances from Chekhov to cinéma vérité to installation art. Not so much a narrative as a mood, it left me profoundly nostalgic for a place I never knew.”

- Caroline Wake, Real Time Arts, issue August-September 2011

“With “Will You Ever Be Happy Again?” Serbian-Dutch Sanja Mitrovic produced an autobiographical show in which she combines theatre, performance, dance and visual art. The story with autobiographical elements examines how nationality effects one’s personal identity. This is touching and highly engaging, fascinating performance, presented in a beautiful, simple form.”

- From Jury Statement(pdf) BNG Nieuwe Theatermakers Prijs (New Theatre Director Prize) September 2011

“Serbian-Dutch performer, actress and an author of increasingly prominent reputation in Europe theatre circles, Sanja Mitrovic, directs an intimate and deeply personal story that concerns all of us who grew up in Former Yugoslavia, and who can still remember the country that once existed(…) The performance is structured through an inspired mix of emotions and humor, with which we often don’t know what to do(…) For the story is so truly simple and interwoven with such facility and skill, the viewer can hardly decide between laughing and crying. That is why only silence remains at the end. But luckily, Sanja Mitrovic is sufficiently skillful to offer the audience vast pleasure and joy of life through positive vibration her directorial stamp bears, which was proven at numerous festivals across Europe where she performed this fantastic play”.

- Nikola Zavisic, Selector’s statement 55. Sterijino Pozorje Festival, International selection, May/June 2010

Kako cemo djeci objasniti sta se desilo? (jpeg) Interview with Sanja Mitrovic by Mersiha Drinjakovic, BH Dani 20-11-2009 (in Bosnian)

Happy Medium (pdf) Maya van den Heuvel, Time Out, 02-02-2010 (in English)

Umetnost nije dekoracija  (link) Interview with Sanja Mitrovic by Tanja Matic, e-novine 22-06-2009 (in Serbian)

Schwarz- weise Kinderwelt (jpeg) von Annette Strohm, Leipziger Volkszeitung 6-11-2009 (in German)

Sretna porodica ili polet navijackih pesama a (pdf) Ana Ikovic, Oslobodjenje, 25-10-2009 (in Bosnian)

Telemaco na Jugoslavia (pdf), **** Publico, 23-05-2011 (in Portugese) 

Envances et revolution s (pdf), Les Dernières Nouvelles d’Alsace, 07-06-2009 (in French)

Aktualno gledalisce, da umetnost ne bole dekoracija (pdf), Delo, 30-08-2010 (in Slovenian)

Will You Ever Be Happy Again? par Sanja Mitrovic (pdf), Diversions Magazine, 05-2012 (in French)

“Switching between simple storytelling, physical performance, video documentation and humorous travelogue, she questions the mechanisms of crying: Childhood memories of the death of Tito, Serbian dirges and drinking rituals, Dutch seamen’s mourners and effectively orchestrated sob stories by the mass media make for an intelligent and witty presentation of crying.”

- Theaterspektakel Festival, 2011

“For a post-modernist theater maker, such as Sanja Mitrovic, there can be no doubt that crying and tears cannot be an expressive channel nor a means of communication with the audience but only a topic to be explored in a gray zone of true and false remembrances, lived and imagined experiences, private and intimate, but also pubic and collective, that need to be ordered, classified, sorted out in some sort of contradictory and tentative short history. Of course, a performance is never a history, never a factual indisputable rendering of the past occurrences and certainties. The subject matter remains elusive, the time sequences blurred, ambiguities deeply entrenched. A short history of crying inevitably turns into a metaphor that fuses intimate emotions with pubic stimuli and regulation, reproduces them in the public space of the performance for the benefit of the spectators and prompts them to address and explore their own short history of crying, if they can, if they dare, if they care, as an exercise in self-knowledge and self-reflection, and not necessarily as an artistic act.”

A Short History of Crying by Dragan Klaic (excerpt from the book “A Short History of Crying”, 2011)

Ik voelde een behoefte om de oorlog besprekbaar te maken (pdf) – Erica Smits in Theater Maker, 20-11-2011 (in Dutch)

A Short History of Crying – ****** CPHCULTURE.DK (in Danish)

Her hjælper ingen tudekiks (pdf) **** Politiken, 17-05-2012  (in Danish)

Despre frumusețea clipelor cînd viața și arta se întîlnesc (pdf) interview with Sanja Mitrovic, Dilema Veche, 07 -11-2011 (in Romanian)

Despre frumusețea clipelor cînd viața și arta se întîlnesc  (pdf) interview with Sanja Mitrovic, Dilema Veche, 07 -11-2011 (in English)