Kostim iz predstave Jesenja sonata Ateljea 212. Autor kostima kostimografkinja Marija Marković Costume from the play Autumn Sonata at Atelje 212. The costumes were created by costume designer Marija Marković
You don’t hold your tongue and have managed to preserve your popular- ity and reputation? What’s the price of that? - There is no actress that’s more con- troversial than I am. The rst critiques of my acting cut me down ruthlessly, to which pro- fessor Predrag Bajčetić commented: a dog barks, and the wind carries. They disputed my status as both a woman and a human, and that hit me the hardest. In the theatre I refused to become a member of the Com- munist Party, because I only wanted to for- ever serve the beauty of acting and art. I still pay that price with satisfaction now. Yournameisalmostsynonymouswith femme fatale. How did you carry that? - I’m not a femme fatale! I’m as charm- ing as a blue cooking pot with white pol- ka dots. I sometimes encounter some kind- ly elderly gentleman who reveals that he was in love with me in the 1970s and ‘80s,
a future calling.
on the themes of Branislav Nušić’s novel“A Suspicious Person”, the play was created and set in the Wild West. I acted alongside Gorica Popović and Bane Jeremić, while the director was Oliver Viktorović. My daugh- ter Lana also had that same role for her di- ploma premiering at the Yugoslav Drama Theatre about 40 years after me, and I on- ly revealed that to her after the premiere. You knew even as a child that there’s no other profession for you, because you performed in theatres even back then? - Long before my rst theatrical role, since childhood, I felt that I would become an actress. I played theatrical games and didn’t need any other toys. There was nev- er any other profession for me. That was es- pecially so when I enrolled in acting at the Faculty of Dramatic Arts at the rst attempt and knew that I would be a professional. At that time one was obliged to study for
O cially, you retired in December 2011,theninJanuary2012youplayed Greta Garbo in the play “Greta Garbo’s Secret” on the stage at Opera & Thea- tre Madlenianum. What has changed in the period of your retirement? - I’m only formally retired. I sometimes act for more than 20 days a month, with all travelling. I haven’t had a single day o in the past three years. There’s no larger mead- ow in Serbia that I haven’t played on. That’s my struggle against globalisation and my struggle for the rich, wonderful Serbian lan- guage, which I’m able to speak well, and I speak the truth on stage. In retirement, I devote myself to my other gifts – friends, handicrafts, literature. It’s great that I’m in the years when I can do everything and don’t have to do anything. And I only do what I want. I don’t miss anything, not even roles in lm and television.
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