T he Epic of Prince Marko Kraljević and the Con- temporary Movement. Gusle and ballet. Piano and concert halls, music for lm and games. The common denominator is young, successful com- poser Ana Krstajić, a creative ambassador for the Serbia Creates platform. After earning a master’s degree at the prestigious Berklee College of Music, you returned to Serbia and created “Marko”, a contemporary dance piece based on the epic poetry of the life of Prince Marko Kraljević. Where did the idea for this extraordinary work come from? “I grew up listening to my grandfather, who used to play songs and sing verses of Serbian epic ballads, so this aesthetic is very familiar to me. Fascinated by sound, I want- ed to bring the richness and creativity of our national ep- ics to younger generations, rebranding the art of epic po- etry in a contemporary way, through the sound of a string orchestra and with modern electronic instruments that mimicked the sounds of the gusle. I felt it was only possi- ble to collaborate on a project like this with young artists who are actually from the region and who therefore in- stinctively understand Serbian epic poetry.” As well as composing music for concerts and contem- porary plays, you also create music for lm, TV seri- als, TV commercials and, most interestingly, video games. How di erent are these processes? “Creating music for lm or television is a similar pro- cess in that both are composed in linear time using the image as the main guide. Video games require a di erent composing technique altogether, because game music has no de nite duration and it responds to whatever the game-player triggers in the game. Although I have been working on applied music projects for some time, I have to admit that I enjoy it even more than composing music for concerts or contemporary plays. Although it requires speci c time commitments and a stepping out of the usu- al comfort zones, these are precisely the conditions where art can ourish.” What are you currently working on and what are your plans for the future? “I’m composing music for a theatre play by Vashe Zheleznov, Maxim Gorky, directed by Zlatko Sviben at the National Theatre in Belgrade, together with my colleague Jana Rančić. With the team from Devotion Studios, I’m work- ing on the nal details of music for Heroic, a Nordeus vid- eo game. As part of the Sonic Tree Studio in Belgrade, I’m composing and orchestrating music for a feature lm and a domestic TV series to be aired on Radio-Television Serbia this year, while I’m planning to move to Los Angeles soon,, to continue my professional development.”
Odrasla sam slušajući dedu koji je svirao gusle i zato mi je ta estetika bila poznata i bliska “I grew up listening to my grandfather playing music from the epics, so this aesthetic was familiar and fascinating to me
zanimljivo, muziku za igrice. Koli- ko se ti procesi zanatski razlikuju? – Stvaranje muzike za film i TV serije je slično, jer se komponuje u linearnom vre- menu uz sliku kao glavni vodič. Video-igre zahtevaju drugačije tehnike komponova- nja zato što muzika nema određeno vre- me trajanja, već reaguje na ono što gejmer trigeruje u igrici, interaktivna je. Iako već dugo radim na projektima iz primenjene muzike, moram da priznam da najviše uži- vam dok komponujem muziku za koncer- tna izvođenja ili savremenu igru. Iako to zahteva posebno vreme i izmeštanje iz zo- ne komfora, upravo je to mesto gde može da se rodi umetnost. Na čemu trenutno radiš i kakvi su ti planovi? – Komponujem za pozorišnu predsta- vu Vase Železnova, Maksima Gorkog u re- žiji Zlatka Svibena u Narodnom pozorištu u Beogradu, zajedno sa koleginicom Ja- nom Rančić. Sa timom iz Devotion studi- ja radim na završnim detaljima muzike za video-igru Heroic kompanije Nordeus . U okviru Sonic Tree studija u Beogradu kom- ponujem i orkestriram muziku za igrani film strane produkcije i domaću TV seri- ju koja će se emitovati na RTS-u ove godi- ne, a uskoro planiram i preseljenje u Los Anđeles kako bih nastavila sa profesio- nalnim usavršavanjem.
Video-igrice zahtevaju drugačije tehnike komponovanja muzike koja nema određeno vreme trajanja
“Composing music for video games requires
di erent techniques to composition for lm, because games don’t have a de nite duration.”
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