The performance by a theatre extremist Marko Mandić and Via Negativa proves that Mandić’s body is not only a medium for other roles. Marko Mandić is one of the signature faces of the Drama Ljubljana, without whom it would be impossible to imagine the greatest productions by this theatre in recent years. Initially, Mandić attracted attention mainly due to his roles on the Drama Small Stage, but his explosiveness did not go unnoticed on the Main Stage either. The fact that Mandić is a stroj, an acting machine in the most positive sense of the word has been demonstrated by his appearances outside his theatre company, including his collaboration with Via Negativa. […]
The last part in his trilogy of performances is MandićStroj, directed by Bojan Jablanovec, which is a tentative overview of the roles that Mandić created between 1998 and 2010. Thirty-seven roles we saw mainly at the Drama and Mini Theatre, are interconnected by Mandić in a performance, in which he proves once again that he is an inexhaustible source of energy, a master of transformation and, as he was once described by the jury at the Maribor Theatre Festival, a theatrical extremist.
[…] As Oswald in Ibsen’s Ghosts, Renton a.k.a. Tomaž Kos in Trainspotting, Bob in Hanif Kureishi’s Outskirts, as well as Al in the Sallinger performance, produced by Mini Theatre, Mandić is relentless in his search for the actor’s core that is not limited to individual roles. He inexorably sucks the essence out of his roles and hardly takes any breaks between transitions, so the performance is an unrestrained source of Mandić’s acting creativity rather than a review of his roles. MandićStroj uncompromisingly captivated the audience attention and participation, and earned, ultimately, a standing ovation.
Siol.net, 27. 6. 2011

Via Negativa producer Špela Trošt