NATALIJA MANOJLOVIĆ
Natalija Manojlović (1978., HR) kazališno iskustvo je započela kao plesačica i koreografkinja. Podijeljeni interes za kazalište i ples s vremenom pretvara u specifičan izraz koji razvija u autorskim projektima od 1998 do danas (Virus 0’98, 1998; Oprosti, sam’malo!, 2003; Korozija d.o.o., 2005; Vodoinstalater, 2009 i dr.). U projektu Slučaj &TD (2011) potpisuje režiju i autorski dramski tekst. Diplomirala je psihologiju na Filozofskom Fakultetu u Zagrebu i završila plesnu školu Ane Maletić, a kazališno usavršavanje nastavila je kao suradnica za scenski pokret i asistentica režije u predstavama renomiranih hrvatskih i slovenskih redatelja (Anočića, Waltla, Brezovca,Taufera, Tomić-Kovačić, Udovički i drugih) i dalje surađuje s brojnim kazalištima – &TD, ZKM, Slovensko mladinsko gledališče, Mini-Teater u Ljubljani, Ulysses i dr.
Natalija Manojlović (1978, HR) began her career in the theater as a dancer and choreographer. With time she combined her interest in theater and dance in a very specific type of output which she’s been developing through various projects since 1998 (Virus 0’98, 1998; Oprosti, sam’malo!, 2003; Korozija d.o.o., 2005; Vodoinstalater, 2009 and others). She took part in the project Slučaj &TD (2011) as director and writer. She has a degree in psychology from the Faculty of Humanities and Social Sciences. She has been a part of Ana Maletić’s dance school, and continued her training in the theatre as an associate for stage movement and assistant director for plays by renowned Croatian and Slovenian directors (Anočić, Waltl, Brezovac,Taufer, Tomić-Kovačić, Udovički and others). She still does collaborations with many organizations and theaters – &TD, ZKM, Slovensko mladinsko gledališče, Mini-Teater in Ljubljana, Ulysses and others.
INTERVJU
1. Od kud počinješ i kako?
Moj prvi susret s kazalištem bio je u osječkom HNK, kad sam kao devetogodišnjakinja plesala u Aidi.
Premda sam tamo stigla iz plesne škole, tada sam osjetila da postoji kazalište i šire od samog plesa i da se u njemu osjećam kao doma. Od svog prvog honorara kupila sam papagaja. Ostale iznosiće sam pažljivo skupljala u neku kutijicu, tko bi više znao za što. Krajem sezone, kad se kutija napunila, neki provalnik je ušao u našu osječku kuću i u brzini pokupio samo video rekorder i ispraznio moju kutijicu.
Tak sada vidim da me prvo kazališno iskustvo učilo više od ljubavi prema tom pozivu. Papige ne žive dugo, a ne mogu niti ugristi provalnike. Od prvog honorara ne možeš kupiti psa, a ako ne razmišljaš dalekosežno, pa kupiš kornjaču koja živi 250 godina, nećeš se dugo sladiti plodovima rada. Modrice koje sam ponosno zaradila u Aidi živjele su duže od papigice.
10 godina poslije, u istom tom HNK, napravila sam svoju prvu predstavu, volonterski. Zvala se ‘Virus 098′, izazvala je stajaće ovacije u prepunom gledalištu HNK. Svi prijatelji i rodbina mojih izvođača bili su oduševljeni predstavom, igrala je jednom.
2. Kojim putem ideš?
Svoj rad bih najlakše smjestila u medij kazališta jer kazalište vidim kao spoj glazbe i plesa i likovnosti, ali prije svega igre sa svim mogućim medijima komunikacije. Tu komunikaciju vidim kao jedino pravilo u mediju kojim se bavim. Moje kazalište je razgovor s ljudima koji sjede u mraku gledališta (ako im ponekad ne odlučim upaliti svjetlo) a instrumenti te komunikacije ne ograničavaju se na specifičan medij niti jezik, doklegod su u funkciji razumijevanja s publikom. Ili bolje rečeno suosjećanja između igre i publike.
Često je baš izbor medija prvi impuls u mom radu i taj izbor ili određuje ili inspirira metodu rada. Ponekad je to ples, ponekad tekst, ponekad glazba, ponekad neka suluda ideja s kojom se zabavljam sve dok me ne počne gnjaviti i žuljati. Kad zažulja, postat će predstava. Trudim se ostati otvorena i sa svakim projektom istraživati nove metode, instrumente i sebe kao autora.
Iako ponekad zbog takvog stava zalutam među ljude ili poslove koje ne bih ponovila, takva iskustva su moja kazališna akademija, baš kao i ona dobra ili „genijalna“.
Učim od ljudi kojima sam okružena, od uzoritih i slučajnih suradnika do ljudi koje smatram prijateljima, od sebe same i od publike. Kad trebam izdvojiti uzore u poslu, među onima koje ne poznam osobno, uvijek se sjetim koreografa među redateljima i redatelja među koreografima Josefa Nadja.
3. Kamo želiš stići?
Nadam se da se neću umorit od traženja novog, od igranja, i da neću gubit smisao za humor.
Voljela bih raditi dva, najviše tri projekta po sezoni, svakome posvetiti cjelovit kapacitet svoje kreacije i imati prostora za donošenje odluka i prepoznavanje kupujem li papagaja, psa ili kornjaču. Do sada sam naučila da papagaj nije izbor. Kornjača dugo živi, ali pas je ipak čovjekov najbolji prijatelj, a zna i pokazati zube kad stižu režije na naplatu. Zahtjeva puno pažnje i vremena, ali ako je kriza u kulturi, u prihvatilištu ga možeš uzeti besplatno.
INTERVIEW
1. Where are you starting from and how?
My first encounter with theater happened in Croatian National Theatre Osijek, I was 9 years old and dancing in ‘Aida’. I came there from the dance school and realized that theatre happened to be much broader than dance; it instantly made me feel like home. I bought a parrot from the first pay; and the pays to come I have saved up in a box that was later stolen by burglars, together with VCR.
That first theatre experience made me learn more about the call than to just love it. Parrots don’t live long and you can’t bite burglars. Also, you can’t buy a dog from your first pay, and if you don’t think on the long run and buy a turtle that live 250 years, enjoyment in the fruits of your labor won’t last long. Bruises I proudly earned while dancing in ‘Aida’ lived longer than the parrot.
10 years later, I made my first play at the same theatre I begin with. I volunteered. The play’s name was ‘Virus 098’ and it caused standing ovations in a full auditorium of CNT Osijek. Friends and family, everyone was thrilled. It lasted for one show.
2. Which way are you going?
I would place my work in the theatre medium because I see theatre as music, dance and fine arts pastiche and above all a possibility of experimenting with other mediums of communication. For me, that communication is the only rule in the medium I do. My theatre is a talk to people who sit in the dark auditorium (unless I give them light) and the instruments of the communication are never limited to a specific medium or language, as long as they are in the function of understanding with the audience. Or better said, enabling compassion between play and audience.
Often, the selection of medium is the first impulse in my work and that selection either determines or inspires the method. Sometimes it is dance, sometimes it’s text, sometimes music, sometimes some crazy idea I entertain myself with until it itches so much I have to do something about it. And when it itches, there’s going to be a play. I try to stay open to and to examine myself, instruments and new methods with every new project. In past, that attitude made me stray among people or into collaborations I wouldn’t like to experience again. These experiences are my theatre academy, as well as those good and ‘brilliant’ experiences.
I always learn from people I am surrounded with, I learn from decent and accidental collaborators and I learn from people I think are my friends. I also learn a lot from audience. I greatly admire the work of Josef Nadj – a choreographer among director and director among choreographers.
3. Where are you going to?
I hope I’ll never get tired of searching for new, from playing, and that I’ll always have my sense of humor with me.
I’d like to work on 2 or 3 projects seasonally, to invest my whole creative capacity into them and still to have enough time and space to recognize if I’m buying a parrot, a dog or a turtle. So far I have learned that the turtle is not a choice. The turtle lives long, but the dog is a man’s best friend and he can show some teeth when bills come due. Dog requires a lot of attention and time, but if there’s a money crisis in culture, you can always save one from the shelter.
