- I’m an applied artist. I’m engaged in the visual, artistic creation of theatrical perfor- mances, and build on the work of the writ- er, composer, choreographer et al. As an ar- chitectural engineer, I have also designed interiors for one company. A few years lat- er, I saw one solution of mine in a depart- ment store in Serbia. Howdoyoureconcileyourartistic integritywiththewishesofothers in a theatre team? - I’m not confrontational. I have argu- ments for my idea; I know what my goal is, I have pronounced intuition and ideas, and I strive to fit into the mosaic of teamwork with the writer and director, keeping in mind the technical possibilities. That’s the only way you can work in theatre. Where did you leave your first si- gnature as a scenographer? - That was the stage design for the play “YouNeverCanTell”byGeorgeBernardShow, under the direction of Ljubiša Ristić, for the National Theatre in Zrenjanin, in 1973. I knew immediately that scenography was the right job for me. At what stage of a theatrical pro- jectdoesworkinscenographybe- gin? - I always first read the script of the play to be staged, considering the visualisation of the space and characters. I talk to the di- rector and, provided the possibility exists, I gladly share my ideas and thoughts with the writer, composer, choreographer et al. These creative conversations lead to the de- finitive shaping of the visual part of the play, which I then execute independently. I tour workshops and overview work on the décor and costumes. I don-t shy away from paint- ing something too, if that’s necessary. The fi- nale is assembling the décor on stage while setting the lighting, which I participate in as a team member. Who taught you the most about your craft? - I learned a lot from scenographer and costume designer Duško Ristić, my professor of costume design. And I learned the most by watching plays. I sometimes wonder about students of scenography and costume de- sign who rarely go to the theatre. Without that, it is difficult to find yourself and suc- ceed in the theatre. What’s your most challenging job now? - The movement of décor as a part of choreography has always been attractive to me. Baroque is the most interesting and in- spirational period, although I fear it the most, because it has too much of everything. I have always managed to realise my professional desires and find joy in every job I do, even when there was none at the start.
U Njujorku sam video monodramu o Sari Kejn u izvođenju francuske glumice Izabel Iper. Od brojnih predstava koje sam video, najviše mi se dopala ova, praktično bez dekora i kostima. Nalazim da kule i mostovi, krinoline i raskošni kostimi nisu vitalni u pozorištu
Hotel Evropa, Beogradsko dramsko
pozorište, 2015. godina, Beograd
Hotel Europe,
Belgrade Drama Theatre, Belgrade, 2015
Mletački trgovac, Jugoslovensko dramsko pozorište 2004. Beograd
Uspavana lepotica, Makedonsko narodno pozorište, 2011. godina, Skoplje Sleeping Beauty, Macedonian National Theatre, Skopje, 2011
The Merchant of Venice, Yugoslav
Drama Theatre, Belgrade,2004
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