Man.Chair is a musically structured dance-impro performance, which avoids any thematic fulfilment. There are, rather, some parameters or rudimentary relation between body and object. In the process of development performers are focusing on the following parameters:
- Resemblance between physical characteristics of object and body
- Mental investment of energy and emotion in object
- Objectification of body
- Tension between “technical” and “natural” bodies
- Tension between order of objects and order of bodies

…Goran Sergej Pristas and Ivana Sajko have founded the “nameless author’s company” that fills the public with enthusiasm by their dance (P. Knezovic, Jutarnji list)

It is neither a theatrical nor a dancing show, it is not either a performance or a pantomimic piece, yet it combines all the elements – it is an interesting unconscious play that arises upon differences, a sort of conflict between Indos and his age, his experience different from those of Nikolina Bujas Pristas and Pravdan Devlahovic and their stories. (N. Ozegovic, Jutarnji list)

The place for the play and for the viewers is the stage of &TD, the only scenery of this intimate but very successful experiment are the walls painted in black oil paint. Three bodies dressed in white underwear and three broken chairs make, let us call it that way, an existential hexagon – twitching movements, nervous tics, and stylized masturbation are symptoms of fear from one’s own sexuality which says: it is impossible to communicate with another living being if one does not start reigning over him or else if one is not subordinated by him (T. Cadez, Globus)

Touching dance dialogues… the performances of this kind are not only desired and expected delicacies but also the viewers’ curiosities, the curiosities that are not only several hundred kilometres away from our cultural climate but even some hundred spiritual miles away (I. Djerdj, Glas Slavonije)