The director Tomaz Pandur creates theatre for the next millennium.
Wolfgang Höbel, “Der Spiegel”, 1995. Hamburg, Germany.

Pandur brings to life pain-infusing archetypes, setting them free in the theatre-arena like a beast gasping for brotherly love. The dream theatre-cinema “Russian Mission” has a lyrical edge: powerfully lamenting music pregnant with dreams, sad sighs, and mystic vibrations. Tomaz Pandur has dedicated the performance to all refugees, past and present.
Claire Diez, “La Libre Belgique”, 1996. Brussels, Belgium.

Critics swooned over the “ingenious ease and unaffectedness” of Pandur’s “Russian Mission”, a dramatized collage of Dostoevsky’s novels.
“Newsweek”, 1995. New York, USA.

Maybe everything is just a fit of epilepsy. Maybe it is just theatre — a four-and-a-half-hour-long dream, fascination, or energy, a stage magic or a pictorial agitation, just a sudden relief in the head of the tall big-eyed youth, who at the beginning and the end of the performance is taken with cramps falling to the ground stricken by a bright, piercing epileptic fit. Theatre — a visionary fit. His strongest parts, his strongest pictorial passages are always those reflecting his striving to find transcendence: there, Pandur’s theatre of images is changed into film; there, he is dreaming like a Tarkovsky of the theatre; there, he is capable of creating the most mysterious mysteries.
Sigrid Löffler, “Süddeutsche Zeitung”, 1994. München, Germany.

The stage covered with hay, surrounded with low fences and high, iron-cast, ribbed walls resembles the interior of a wretched ship of fools, abounding in strikingly picturesque scenes of a powerful quest, rage, helplessness and hate instantly turned into love, with love sliding into hate...
Lojze Smasek, “Vecer”, 1994. Maribor, Slovenia.

Where love and lust, jealousy and hate clash and control the flow of events, emotionally charging Pandur’s images, one cannot resist the fascination of his theatre. One does not want to turn one’s eyes away from the queen of the night, Ksenija Misic, playing Nastasya Filippovna Barashova.
Eva-Elisabeth Fischer, “Süddeutsche Zeitung”, 1996. München, Germany.

Although constantly fascinated by the classics of the world’s literature, Tomaz Pandur never creates the theatre of words but the theatre of image, sound, and space, the theatre of ritual and affinity to magic. To fly is simple — however, even Pandur cannot completely overcome gravitation: Hugo Ball’s point-of-view is partly Pandur’s point-of-view as well. The last scene, with Myshkin who instead of hovering about is playing on the ground like a child, has an unbearable lightness of Pandur’s handwriting.
Gerhard Melzer, “Neue Zürcher Zeitung”, 1994. Zürich, Switzerland.