In our production, death is far more present than it is in the epic itself. A central role is assigned to the underworld, conceived as a realm of endless repetition and an existence condemned to mechanical inevitability. Within this underworld, Gilgamesh refuses to become its king.
I must emphasize that it is precisely in the underworld scene that Tabački achieves the highest level of artistic expression. The production, however, is not directly connected to the contemporary world; rather, it belongs more closely to the realm of fantasy.
— Vladimir Milčin
