The initial framework of the "Awaiting Bread" play is an auto-thematic representation of an actor-puppet ('We can give act love and rhetoric for you, but not without blood') whose protagonists are a medieval (timeless) histrionic bunch. The Borojevic brothers and Jasmina Novljakoviæ are here happily joined by the cast from the previous performance in the histrionic awaiting of the palimpsest about bread and Vili Matula. It is a polyglot stage fairytale, which travels through modes of theatrical performance. The initial stage concept is defined by a presentation of different acting styles, such as the Far East, East (Russia) and the Former East theatre traditions, and concludes with a stage creation of Becket's "Awaiting Godeau" replica of motionless awaiting (Estragon: 'Let's go! No one move!) pronounced at the side of a willow, a symbol of reckoning with Godeau. The play can be initially described using the first line form "The Stage" essay by Peter Brecic: "The place to wait for Godeau is called Daska. It is the one that 'means life'", and it can be continued as follows: Daska - "a place of all things between heaven and earth".

Script adaptations:
Samuel Beckett: "Awaiting Godeau", Tom Stoppard: "Rosenkranz and Guildenstern Are Dead", Carlo Collodi "Pinocchio", H. C. Andersen "Lead Soldier" and other fairytales
Music: Igor Strawinsky: "Story About a Soldier", Georg Haendel: "Xerxes", Wally Baddarrou: "Winds", L. V. Beethoven: "Moonlight Sonata"...
Performers: Damir Borojevic, Jasmin Novljakovic, Nebojsa Borojevic, Vili Matula
Light design: Dusan Mirilovic
Sound: Boris Volarevic
Scenography: Damir Borojevic
Editor: Jasmin Novljakovic, Nebojsa Borojevic
Project author: Daska Theatre
Ideas co-ordinator: Nebojsa Borojevic

Daska Theatre is an experimental company from Sisak, Croatia. Since their formation in 1976 they have received numerous awards for their startling mix of political satire, music and high-octane physical performance. The research of the last Soviet avant-garde group Oberiu and masterpieces of their leader Daniil Harms which are still almost anonymous began in 1984 with the street performance "Yelizaveta Bam" for twenty cars and one truck. It continued in 1985 with the show "Pif, paf, puf" based on a short poem by Daniil Harms. In the last few years the shows "Three Left Hours" (a reconstruction of Oberiu's first and only big mutual performance which took place on January 24th 1928), "Harms" and finally "Murdered Writers' Society" have been made.

... Examining the worlds of fairytales, theatre - that is art- and life itself, during its 20 years of existence, "Daska" has been building a ludistic theatre in the full sense of the word. Still, their lightness of expression, unhidden infantilism and the dream-like elements combined with humor, caricature, amazement, association and a touch of clownish playfulness, always carry the weight of a tedious problem of a man, lost between an ideal dream and the harsh reality. Without a mirror, we all look pretty, because that is the image we have of ourselves. If all the mirrors in the world would melt away like ice, perhaps all the evil would melt and disappear with them; all frustrations, insensibilities, hate and aggressions. Sincere faith and belief would then replace lies and new opportunities for the world would open up.Art plays the truth game. "Daska" does not attempt to create a universal world. By using pieces of light, it endeavors to create a universal dream, a dream of an age of innocence and naivety and a belief that all evil in this world would eventually become unmasqued and punished. (Hrvatsko slovo, Zagreb)

... Thus, the story is inseparable form these brilliant theatre enthusiasts of Sisak and the very spirit that they have been radiating for over two decades. They appear on the stage as a bunch of starved actors, equipped with all the prop and gadgets of their trade, who just came out of the "Rosenkranz and Gildenstern are Dead" comedy, Stoppard's equivalent of "Hamlet". While waiting to be spared a few coins to buy bread, they distract themselves and the audience by telling fairytales. "Pinocchio" is succeeded by "The Lead Soldier", illustrated by fragments of other well-known children's stories. All these elements are enriched by an excellent pantomime performance with a sinister clarity of road performers, who on occasion involve the audience in their play. The foolish and playful building of a toy town goes on to include a new and ominous fragment form Andersen's "Ice Queen", since the fairytale town is being built with blocks of ice. Their storytelling eventually becomes ever more erratic, culminating in the realization of the main idea of the play, whose conceptual inventiveness overshadows the occasional dramatic clumsiness. (Novi list, Rijeka)

:: They have performed on INFANT in 2003