“Scheherezade” is one of my most beautiful experiences in the theatre.
Alex Renton, “Independent”, 1989. London, Great Britain.


We, the viewers, do not have time to breathe. We enter the kingdom of dreams without restraint.
“Excelsior”, 1990. Mexico City, Mexico.


These dreams should enable us to forget the nightmare of totalitarianism. If ideology and politics keep losing their sense, this performance clearly demonstrates why.
Guadalupe Pereyra, “El Nacional”, 1990. Mexico City, Mexico.


The idea of the performance is to represent the uniformity of such contrasts as East-West, Eros-Thanatos, physical-metaphysical, dream-reality, hope-hopelessness.
Bogdan Maksimovic, Radio Belgrade, 1989. Belgrade, Yugoslavia.


A unique example of the blend of poetry and drama.
Anamaria Bacci, “Journal de Araraquara”, 1995. Araraquara, Brazil.


Tomaz Pandur, a young theatrical genius, has reached one of the climaxes of modern dramaturgy.
Programa general, III Festival Iberoamericano de Teatro, 1992. Bogota, Columbia.


The viewers watch the performance as if watching their subconscious dreams through a photographic camera.
“El Dia”, 1990. Mexico City, Mexico.


This is a directing in which technical procedures are almost indiscernible since all physical obstacles are overcome and all theatrical means are subjected to a boundless ritual; only the chosen are capable of achieving something like that. This performance must be seen by the world, since it is high time Bob Wilson stopped dreaming his dream in blue. “Scheherezade” dreams in color.

George Coldwell (Washington)


Trying to define the notion of the Total Theatre, it is usually difficult to find appropriate examples to illustrate the concept. “Scheherezade” is undoubtedly one of them.
Susana Freire, “La Nacion”, 1994. Buenos Aires, Argentina.


Dreams and reality, this and the other world, consciousness and subconsciousness, day and night, love and crime, war and madness — “Scheherezade”, the magical performance of one thousand and one ritual, joins all of them.
Alexander Barrios Escauriza, “Diario del Festival”, 1992. Caracas, Venezuela.