The Press about "LA DIVINA COMMEDIA":
"Never has anything comparable been put on stage"
Elena Petrova, AiF (RUS)
	"The perfection of the form evokes memories of slab pictures ... Adassinski does not flirt with the public and does not try to please..."
	Olga Romantsova, Vesti (RUS)
		"So it seems at the end, as if you had experienced the creation of theatre out of myth....One surprise chases the next."
		Stadtmagazin SAX, Dresden (GER)
			"The perfect sculpture of the actors ... winds bodies into unbelievable positions"
			Elena Gubajdulina, Izvestia (RUS)
				"This infernal spectacle is a constant balance on the narrow line between charlatany and virtuoso offered illusion. It's probably this what distinguishes talent in clowning"
				Oleg Sintzov, Vedomosti (RUS)
					"In the presence of the actors on stage you find truth"
					Elena Karas', Festival Journal "Golden Mask" (RUS)
						"The audience falls into a spell and lets everything happen as if they had given in to the feeling of being part of a video game with unknown rules"
						Julia Yakovleva, Kommersant (RUS)
							"No more than 4 actors are transformed to various characters and are drawing their own Heaven,Purgatory and Hell with thousands of visual and auditory images"
							"Yon-Hap News", (South Korea)
								"The situation gets converted by music, the stage is dominated by a strong contrast of colors, together this leads the audience to explore the world of after-death"
								"Daily Hankook", South Korea
								"The magic rituals can be arranged like games on a table"
								Marina Davydova, Vremya Novostey (RUS)
									"What happens here, constantly changing the room, flooding the spectators, is pure madness, an arranged chaos of the elements....full of fantasy, playful, thought through, intelligent. A mixture you rarely find in theatre."
									Sachsische Zeitung, Dresden (GER)
										"If a company can do this, create an open area in a world full of images, to hide information inside an overloaded performance, then it speaks for the quality of what they are creating."
										NRC Handelsblad (NL)
										"Weird as hell, this show undoubtedly fires up feelings of irritation at its deliberate longueurs, but it also stokes sensations of mortal terror and strange enchantment. I doubt anything on the Fringe this year will have such an unearthly, unhinging power."
										Dominic Cavendish, The Telegraph,, August, 2002 (UK)
									"These four superb performers - and at the end it's almost impossible to believe there have been so few of them - present a wordless show that is like a circus of human dreams and nightmares; not a version of Dante's Divine Comedy, but visibly inspired by the concept of a circle of hell. . .a haunting, hugely ambitious event with a strange seductive power"
									Joyce McMillan, The Scotsman, August, 2002 (UK)
								"Anarchic Russian clown troupe Derevo is at hand to bring you physical theatre at its most daring and spectacular, whose memory will linger long in the mind after the Fringe has gone into hibernation... Beguiling and mystifying in equal measure."
								Alan Chadwick, Metro, August, 2002 (UK)
							"Gripping, profound. . . This is spectacle that grabs you and taps you on the shoulder three days afterwards and says 'Think about me . . . Don't you think you should ask some questions about the meaning of life?'. . . This is a great piece of theatre. Can we have more of it, please?"
							Jackie Fletcher, Edinburghguide.com, August, 2002 (UK)
						"Sitting in the round, we're not watching theatre. We are theatre. ...We're experiencing the same hell, the same corruption and the same joy as Dante's characters as we literally smell the fear, feel the forces, taste the glory, see the dreams and hear the fantastical. ...A stunning piece of physical, technical and visual theatre which isn't scared to break audience/performer boundaries to reach a heightened state of theatrical experience."
						Mererid Williams, The List, August, 2002 (UK)
					"It feels as much like a hit as any headlining band. . . Peals of senseless laughter. . . There are serious concerns informing this intricately crafted piece of work. . . Derevo deal in images rather than in stage stories, and realise in defiantly passionate flesh the emotions Hollywood commodifes. The stuff of film materialises in their big top of a stage with an intimate reality no audience can resist."
					Helena Thompson, Edinburgh Evening News, August, 2002 (UK)
				"On one level it is a deliberately crowd-pleasing spectacular featuring gothic demons, a clowning angel, and snowstorms of twirling, glittery paper. Yet Derevo are also bold and dark. . . Their dreamlike visions are haunting. . . This ensemble's intensity and ragged beauty - paired with a pulsing, wailing soundtrack - grip like a vice."
				Kate Bassett, Independent on Sunday, August, 2002 (UK)
			"Now they return full of gravitas, cackling in the roaring wind, spinning in demented dances. . . Certainly seem to have an inexhaustible supply of ideas. There is a debauched party in wait again, only this time we are treated to the holistic gustatory pleasures of red wine in tin cups and warm wholemeal bread - which is the least reason why should see this show."
			Duska Radosavljevic Heaney, The Stage, August, 2002 (UK)
		Derevo's manic, inspired journey between the lines and concepts of Dante's Divine Comedy. . . The imagery is superbly hectic, with beastly, bizarre flourishes. . . Amid the grotesqueries, the flames, the whirlwinds and the showers of dust, there are moments of exquisite beauty and tenderness. . . Uplifting grace, spirituality and redemption. . . Headlong energies, superbly channeled into seemingly reckless physicality.
		Mary Brennan, The Herald, August, 2002 (UK)
	This Russian company's latest piece of phantasmagoria, enacted on a circular plateau that revolves like a mad merry-go-round of life. . . Horrible hallucinations all held together by the ringmaster figure of Anton Adassinski. . . Its screaming volume rarely letting up, its nightmarish frenzy relentless.
	Nadine Meisner, The Independent, August, 2002 (UK)
Awarded with Fringe First and Total Theatre award in Edinburgh, 2002.