INTERVJU / INTERVIEW
rus and epidemiological measures! These are strange times for every- one. We are ready, though I don‘t think a show is ever ready until it has been shared with the audience. The situation in March, as well as the various protocols that will accom- pany it in Athens and Paris, should enable us to perform the premiere. And then the show should start its international life in Novi Sad. I hope that we‘ll succeed. I’m not a great optimist, but I’ve prepared for the best-case scenario.” You come from a country where the naked body is implied in culture, albeit only in antiquity. We don‘t feel uncomfortable look- ing at sculptures, but we do when it comes to a naked body in a theatre. How do you view that difference? “I understand, but that‘s not something I consider at all. I have no inhibitions regarding the hu- man body, nor do I feel ashamed about that. As an observer, and of course as a creator, I under- stand that nudity can elicit a re- action among people, but as the years go by and new generations arrive, the simplest answer is to note that we were born this way and there‘s no reason why the the- atre shouldn‘t include the image of a completely naked body.” In which way does the body inspire you; why do you expose it in front of the world, what are you saying with that? “The human body inspires me in many ways. I consider it as a fas- cinating machine, and the way it can be transformed is a totally fas-
“I‘m not sure that I‘ve modern- ised dance. Perhaps I‘ve contribut- ed, or offered another perspective, the way a story can be told through movements of the body. The fact that I‘ve been painting since I was a child, and the fact that I was ed- ucated as a traditional painter, de- fined the way that I observe things. It‘s very difficult to explain what it means to observe life through the eyes of a painter to people who don‘t engage in painting.” You once stated that you avoid expressing views in your plays... In that sense, what is it important for you
cinating story. I love the fragility of the human body, as well as the fact that I‘m fortunate that visual art has presented it in different ways over the centuries, creating a visual language that we all share through- out art history. It provides me with a way to communicate with people without words. Through the his- tory of art, the presenting of the human body, which is so signifi- cant for all of us, represents our shared language.” You have modernised dance and present it as a show in which every movement is a picture, which is linked to the fact that you are actual- ly an academic painter…
to see on the stage, what kinds of questions should
Papajoanu je postao nadaleko poznat 2004. godine kao tvorac ceremonija otvaranja i zatvaranja Olimpijskih igara u Atini 2004. Papaioannou achieved worldwide repute in 2004, as the creator of the opening and closing ceremonies for the 2004 Athens Olympics
28 | Igra » Dance
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