Written by: Iva Stilinović Grahovac
Photos: Tomislav Marić
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The national champion of the Croatian National Theatre in Zagreb, Iva Vitić Gameiro (37), a ballerina who has conquered numerous stages across Europe with her talent and dedication, reveals her rich and dynamic career path in an interview with Symbol, as well as all the challenges that this specific profession requires.
She started ballet school at the age of nine, balancing between school and dance, and her talent was quickly recognized. After receiving a UNESCO scholarship, Iva continued her education at the Tanz Akademie in Zurich, where she graduated. At the age of 18, she began her professional career at the Croatian National Theatre in Zagreb, where she danced for three seasons, before beginning a collaboration with the Portuguese National Ballet under the direction of Vasko Wellenkamp.
In Portugal, she enjoyed a diverse repertoire, with a special emphasis on modern ballet. Returning to her native Zagreb in 2009 marked a return to the Croatian National Theatre stage, the stage where she feels most free, in front of a special Zagreb audience.
Who had the greatest influence on your decision to pursue ballet?
At the age of six, I don’t know how or from where, I told my parents that I wanted to pursue ballet. They enrolled me in a rhythmic school on Preradovićeva Street in Zagreb, and after a short time, the teacher at the time, Mirjana Preiss, told them that I was talented and that it would be a good idea to enroll me in a classical ballet school.
I first started on the so-called pre-course, and then at the age of 9, I started in the first grade of an elementary ballet school, parallel to regular school. From the very beginning, I knew that I wanted to do ballet, and from an early age everything was somehow subordinated to that goal.
How did your parents view your decision to pursue a professional ballet career?
My mother was always there for me, and she continues to be my greatest support. She would help me prepare and organize everything for school, take me to ballet school, experience everything with me, and during breaks everything was always cooked and served so that I could have time to eat something. After all, she is still my great support and biggest fan to this day.
What did you have to give up in your youth to pursue this profession?
There weren’t many socializing with friends, going out, parties, birthdays… But I wouldn’t call it giving up. The most important thing for me was to get to the ballet studio on time from normal school and then enjoy myself there… Ballet has always been my choice and I’ve never regretted it. I don’t think you can do ballet if you don’t truly love it. Ballet is a way of life. Your whole life is subordinated to ballet and everything revolves around ballet.
Did it often happen to you, when you were still climbing towards success, that you thought you wouldn’t succeed? Or maybe you even wanted to give up?
I’m a Scorpio and when I set my mind to something, it has to be that way. There’s no giving up. Of course, there are always difficult and easy moments, both in ballet and in life. One day something works perfectly, and the next day nothing goes right. It’s simply part of this job and part of the process. Today it’s like this, tomorrow it will be better. We’re not robots.
Is ballet a cruel profession?
Ballet requires precision, strength, flexibility and a certain physique. At the very beginning of our education, there were about 20 of us, and only three of us graduated. The selection process is brutal. There were many talented girls, some of whom could not withstand the pressure, and some simply did not want to subordinate everything to ballet. Yes, therefore, it can truly be said that ballet is actually a cruel profession.
To what extent do genetics determine who can succeed, and to what extent can everything be built through work and discipline?
Of course, genetics are important, but in my opinion, persistent order, work and discipline are more important. You simply cannot do without them. Ballet is a visual art, you have to look beautiful, have beautiful lines, beautiful feet, but if you do not have discipline and hard work, it is difficult to achieve success. I would say, impossible.
We have a lot of mirrors in the hall and they show everything. I am a perfectionist and everything has to be in its place. However, you often have to face mistakes, and that can be very difficult.
How challenging has it been for you in your career to deal with ballet ideals of the perfect body and do you think these standards are changing today?
I have good genetics and I am really lucky that I have not had many problems – neither in terms of weight nor in terms of injuries. I have a grateful body. There are some standards for the perfect body, but they are still not as strict as they were in the past.
Is there a moment when a ballerina feels that her body is starting to change and how does she approach it to adjust?
The body definitely changes; both technically and mentally. At 20, the body is like rubber, some things are no longer possible later on in the way they were when you were younger. Of course it’s different at the beginning of your career, but for me it’s the most beautiful now. I’ve been through many things and situations both in ballet and in life; I have experience, I have knowledge, I can deal with some unpredictable situations more easily…
Going to Portugal changed your life both professionally and personally. What was it like meeting your current husband Guilherme Gameiro Alves, with whom you dance in the same ensemble today?
Although it sounds like some kitsch, it was really love at first sight. By the way, we both graduated from the academy in Zurich, but at different times, Gui came two years later. In the end, we met where else than in the ballet hall.
It happened when Gui arrived on vacation. At that time he was dancing in the Finnish National Ballet and came to practice at the theater. When he entered the hall, we looked at each other and that was it.
How did you decide to come to Zagreb in the first place? What was crucial?
It was actually Guilherme’s idea, he didn’t want to work in Lisbon, and he liked the repertoire in Zagreb and said – „let’s try it“. The rest of us came and went.
At the Croatian National Theatre in Zagreb in 2015 you will receive the status of Ballet Champion, and in 2025 the status of National Ballet Champion. How much does the Croatian National Theatre in Zagreb and ultimately the status of National Champion mean to you?
I love to guest and dance in various theatres, but the Croatian National Theatre and our audience are truly something special. It was a great honor for me to receive this status; there are not many artists who can receive this recognition. And that is another incentive for me to continue, even greater motivation. And of course the responsibility to justify this status.
What do you consider the crown of your ballet career so far?
The crown of my career is precisely the status of National Champion. But the jewels in the crown are all the ballets that have developed me as a ballerina, all the ballets from which I have learned a lot and grown as a ballerina. These are Romeo and Juliet, Madame Bovary, Giselle, Glembays, Annunciation, Carmen… There are many of them and they are all dear to me in their own way.
I love roles that have a story, roles that have emotions, where I am not Iva but the fragile Giselle, the strong Baroness Castelli or Carmen… where I can fully immerse myself in the role and be a completely different me.
Which ballets have you not danced, but would you really like to?
I taught Nikiya for the ballet La Bayadere, but I have never danced it and that is my wish. I would also like to dance ballets such as Onegin and Manon.
You have won many important awards for your work: Ana Roje, Vladimir Nazor, Tito Strozzi. Are you happy to receive such recognition?
Of course. It is a great honor, but also a great responsibility.
What is the most important characteristic that a ballerina must have? Self-confidence, self-criticism, will, strength, craziness… what would it be?
I think mainly that there must be talent. But also a strong will and a desire to progress. And self-criticism, and definitely a little craziness. Plus that something that you have or don’t have, which is – charisma. When you go on stage, you are immediately noticed. Your appearance…
You often danced with your husband as a partner. Is it significantly different to dance with your husband, the man you love and live with, compared to a colleague from the ensemble?
It is definitely different. We know each other very well and we feel each other very well. And of course, it is much easier to convey emotion then because it is natural… But it is nice to dance with other colleagues and learn something new from them.
How to separate private from business with your wife: together at work, together at home…
It is clear that work comes as a topic of conversation and at home, it is impossible to separate it, it is part of our life. We always comment on everything, give each other corrections and suggestions, analyze what was not good and what we can do better…
If some research were done on that topic, ballet would certainly be the branch of art in which the most love couples are born… Is this perhaps because physical contact is inevitable in ballet?
I am sure that most couples are born in ballet. First of all, physical contact is constant, but also because we are together in the hall all day long. After hard rehearsals, you don’t have the energy and nerves to go out and look for your better half, so you either go home or hang out with your fellow dancers. And that’s how love appears…
Two years ago, a new era arrived: you became a mother, Liam was born. You exercised until the last day of your pregnancy, and then came back in top shape. How would you describe that process?
I was lucky because I had a great, easy pregnancy. Since I got pregnant after the age of 35, as soon as I found out I was pregnant I stopped performing. But I exercised and did Pilates until the end of my pregnancy. I think that helped me, but I’m also sure that my body remembers that all the previous years of effort and work really helped me. I exercised even when I was on vacation, I didn’t want to relax because I was aware that if I stopped, it would be much harder to start the new season.
By the way, pregnancy is a but one of the most beautiful periods in my life, I enjoyed it and it was interesting to watch how my body changed.
Was returning to the stage after giving birth a big challenge – physically, emotionally, organizationally. What helped you the most in getting back into your dance routine?
I have never felt more beautiful on stage than I do now. It feels different, like I am more confident, I enjoy every second.
Of course, it is a challenge to balance motherhood and work in the theater, but with good organization and help it is much easier. My mom helps, and we also have Dora, a “babysitter” who has become part of the family and in whose arms hands Liam enjoys… The most important thing for me is that Liam is taken care of while we work because then I am calm and can concentrate 100% on rehearsals. Liam is really a great child so everything is much easier.
Motherhood brings a new perspective on both life and art. Has this life role brought you any new depth in the interpretation of ballet roles? Have you experienced yourself differently on stage since your return?
The role of mother has definitely brought me a new depth. The priorities are different and that’s why I think I enjoy it even more. There’s less stress and more enjoyment.
Do you see yourself in the role of a mentor soon, someone who inspires and guides the younger generations?
I think I’m in my best years as a dancer now, but one day I’m definitely interested in the role of a mentor. I want to pass on my experience and knowledge to young dancers and help them. I’ve already prepared some colleagues for competitions, helped them, and that fulfills me and makes me happy. Yes, one day I definitely see myself in that role…
