Which part of your opus makes you most proud? - I’m not extravagant, nor does my taste differ much from that of the viewers. Recog- nition and a great number of performanc- es are my criteria for success. Among other productions, I enjoyed working on Othello, The Powder Keg, and Theatre of Illusion at the Yugoslav Drama Theatre, some festival plays, several projects at the Ljubljana The- atre... As well as in Zagreb, Sarajevo, Skop- je, Antwerp, Düsseldorf, Sofia etc. Do actors inspire you to create costumes? - I’m inspired to make a costume by the character which is to be interpreted, and not by the actor personally. It is rare that an ac- tor’s vision and experience of a character dif- fers much from the costume designer. Some- times some actresses are demanding when it comes to certain things, but we find a com- promise. I do not necessarily fulfil desires to make a deep décolleté on a stage costume, tighten the waistline, make a hairpiece etc. What professional desires have you yet to fulfil? - I would like to find myself confronted by a task that’s difficult to solve. I’m inspired by complicated projects. For example, some task for Shakespeare’s piece‘A Midsummer Night’s Dream’, set in an ancient period, writ- ten with a Renaissance quill, and done as a ballet performance, with neoclassical cho- reography. And to be performed with a mix of music from Grieg to Pink Floyd. I have had these kinds of experiences and like these types of projects. Which other theatre scenograp- hy styles do you like and dislike? - In New York I saw a monodrama about Sarah Kane performed by French actress Is- abelle Huppert. She had a simple costume and an empty stage without scenography. Of the many performances I’ve seen, I liked this one the most, practically without décor or costumes. I find that towers and bridges, crinolines and lavish costumes are not vital in theatre. In visual terms, I am fascinated by the Cirque du Soleil, which is a spectacle of visual creativity. What brings bliss to your soul? - Tango and Argentine music have been a joy for me for the last ten years. I learned tango in local and international schools. I was also in Argentina. I dance it almost every day on various Belgrade podiums in schools and clubs. I also like the music of Tchaikovsky and other Russian composers, and I’m ever more regularly enjoying Wagner. Do you like travelling? - Yes. I’ve toured a lot of the world. I used to want to see India. Now I’m more interest- ed in China, but I’m also scared of its size.
In New York I saw a monodrama about Sarah Kane performed by French actress Isabelle Huppert. Of the many performances I’ve seen, I liked this one the most, practically without décor or costumes. I find that towers and bridges, crinolines and lavish costumes are not vital in theatre
lazim da kule i mostovi, krinoline i raskošni kostimi nisu vitalni u po- zorištu. U vizuelnom smislu me fas- cinira Cirkus de Solej , spektakl vizu- elne kreativnosti. Šta je merak za dušu? – Tango i argentinska muzika su mi radost od pre deset godina. Tan- go sam učio u domaćim i svetskim tango školama, bio sam i u Argenti- ni. Plešem ga gotovo svaki dan na ra- znim beogradskim podijumima škola i klubova. Volim i muziku kompozi- tora Čajkovskog, ruske kompozitore i sve češće uživam u Vagneru. Volite li putovanja? – Da. Mnogo sam sveta obišao. Ra- nije sam želeo da vidim Indiju. Sada me Kina više zanima, ali i plaši svo- jom veličinom.
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