»With Buljan's Medea we definitely gained one of the nicest surprises of the current season, an excellent, dramaturgically cleansed performance with a clear directing concept. It is about a miniature of exceptional stage power and most certainly one of the best pieces of this season.«

(The Beat of the Theatre Tissue by Anja Golob, Vecer)

»Buljan's vision of the Müller's fragmentary and extremely non-ortodox phantasmagory of the time represents a reliable example of the post-drama theatre. Buljan does not take much trouble about the fotogenic issue of his own images, he  ignores the (imaginary) language barriers – it is  mainly about producing of stage scenes with a striking reflexion potential. This presentation in a historically unbound optics appears as convulsive, with no spectacular effects, also without any secondary theatrical signs except the actor. The dialogue is replaced by a poliphony of monologue discussions, a structure of a collage. Each fragment has the effect of a sketched frame with its own allegorical content, own athmosphere and colour – their combination forms the dramturgic arc of the performance.«

(Intense in Feelings by Primož Jesenko, Delo)

»…a remarkable Slovene performance which representes, with no exaggeration, the happening of the festival … The performance begins with a gentle song interpreted by Ditka Haberl.  The director Ivica Buljan places Medea and Jason alone into a family house or better into a broken home; he takes away from them everything except the power of their arguments in their monologues. … As if in trans, due to the cruelty of the crime, the body of Senka Bulic indicates  all Medea's wrath towards Jason, all her charge of reproach coming from her mouth like fire. … She describes the horrid future that her childred would have to live as outcasts robbed of their rights in their own country, alienated from their source and status. Behind her we see Jason appearing in socks, wrapped in the smoke of cigarettes, surrounded with beer cans while watching TV. …He grabbs the microphpne, here representing a symbol of power, and reacts in a brutally. He speaks of rape, shooting, murder. He attacks as a mad dog, he bites like a beast. The actor Marko Mandic, composed and dedicated to perfection, plays his role wonderfully. Medea Material offers itself as a strike to the sensitivity and the consciousness of the spectator. It is a perfect presentation of how the theatre can walk its autonomous literary path in order to maintain its message. It seems that Slovene theatres must work well since in less than one month they succeeded in impressing the public in Cuba and Venezuela with so many different groups.«

(Medea Beneath the Arc of Time by Omar Valfirio, La jirila, Havana)

»The performance Medea Material was most certainly the greatest achievement of the festival Karantena; it is the work of H. Müller, a known German drama writer, a revolutionary in his approach to theatre art, a post-structuralist, a deconstructive postmodern dramatist.«

(Davor Mojas, Dubrovacki Vjesnik, Dubrovnik)