In his foreword to this collection of mostly new essays, Eugenio Barba, a significant mentor to the DAH, declares that the group “doesn’t fight uncertainty, it manages it” (ix). Considering DAH is a Serbian word for the process of breathing, I was struck how encountering uncertainties in life and art does indeed shift our breath, with a quickening or deepening, a catching of itself, or a laboring forward; fighting this need for breath is futile. The DAH, a group founded and maintained by a core group of women theatre artists, grew up surrounded by the uncertainties brought on by continued civil war, leaving them with a keen sense of social responsibility in their art. While the DAH’s artistic lineage links them to Grotowski and Lecoq as well, it is Barba’s Odin Teatret in Denmark that left the most indelible mark, so his words are a fitting introduction to this important trove. As editor Dennis Barnett points out in his introduction, the recent twenty-five-year anniversary of the group marks an ideal time to scrutinize and celebrate their achievements and longevity, especially amid the backdrop of war. Readers are afforded the opportunity to witness “what began as a street theatre ... turn into an internationally recognized organization dedicated to using their performances to change the world, one audience, one student at a time” (xi). The Sourcebook contains fifteen essays, thirteen new and two revised, authored by an impressive and varied list of contributors from all over the world: an eminent Yugoslavian dramaturg and playwright, one of Serbia’s most esteemed critics, professors from Brown, Knox, and the University of Edinburgh, artistic directors from the United States and Germany, and an internationally recognized poet, playwright, and musician, to name a few. Much on the content employs an investigation of a specific DAH performance as a jumping-off point (there currently are twenty-six performances in total, from 1992 to 2015). The collection is organized into three sections, first exploring DAH Theatre’s work in Serbia, next their reach worldwide, and, finally, multiple accounts from artists who have worked closely with them. In his introduction, Barnett shares not only a brief synopsis of each essay but also its leaning, be it theoretical, historical, practical, or personal. He is correct to point out that a healthy dose of sociopolitical context and cognizance is necessary to discuss or analyze the work of the DAH. Founded in the former Yugoslavia in 1991 by directors Dijana

中文翻译：

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DAH 剧院：资料手册编辑。通过丹尼斯巴内特

DAH 的一位重要导师 Eugenio Barba 在他的这本几乎是新的论文集的前言中宣称，该组织“不与不确定性作斗争，而是在管理它”(ix)。考虑到 DAH 是塞尔维亚语中呼吸过程的词，我很震惊，在生活和艺术中遇到不确定性确实会改变我们的呼吸，加快或加深，捕捉自己，或努力前进；与这种呼吸需求作斗争是徒劳的。DAH 是一个由核心女性戏剧艺术家群体创立和维护的团体，在持续的内战带来的不确定性的包围下成长起来，使她们在艺术中具有强烈的社会责任感。虽然 DAH 的艺术血统也将他们与 Grotowski 和 Lecoq 联系起来，但丹麦的 Barba 的 Odin Teatret 留下了最不可磨灭的印记，所以他的话是对这个重要宝藏的恰当介绍。正如编辑丹尼斯·巴内特 (Dennis Barnett) 在介绍中指出的那样，该组织最近成立 25 周年是审视和庆祝他们的成就和长寿的理想时机，尤其是在战争背景下。读者有机会见证“从街头剧院开始......变成了一个国际公认的组织，致力于利用他们的表演改变世界，一次一个观众，一个学生”（xi）。资料手册包含 15 篇文章，13 篇新文章和 2 篇修订文章，由来自世界各地的令人印象深刻的各种贡献者撰写：一位杰出的南斯拉夫戏剧家和剧作家，塞尔维亚最受尊敬的评论家之一，来自布朗、诺克斯和大学的教授爱丁堡的，来自美国和德国的艺术总监，以及国际知名的诗人、剧作家和音乐家，仅举几例。很多内容都以对特定 DAH 表演的调查为起点（目前共有 26 场表演，从 1992 年到 2015 年）。该系列分为三个部分，首先是探索 DAH 剧院在塞尔维亚的作品，然后是他们在全球的影响力，最后是与他们密切合作的艺术家的多个帐户。在他的介绍中，巴内特不仅分享了每篇文章的简要概要，还分享了它的倾向，无论是理论的、历史的、实践的还是个人的。他正确地指出，讨论或分析 DAH 的工作需要适当的社会政治背景和认知。