{"id":2411,"date":"2024-02-22T11:29:57","date_gmt":"2024-02-22T11:29:57","guid":{"rendered":"https:\/\/symbol-quorum.com\/?p=2411"},"modified":"2024-02-22T11:32:18","modified_gmt":"2024-02-22T11:32:18","slug":"my-heart-aches-when-i-see-actors-with-a-degree-scraping-by-as-waiters","status":"publish","type":"post","link":"https:\/\/symbol-quorum.com\/en\/my-heart-aches-when-i-see-actors-with-a-degree-scraping-by-as-waiters\/","title":{"rendered":"\u201cMy Heart Aches When I See Actors with a Degree Scraping by as Waiters…\u201d"},"content":{"rendered":"\n
Written by: Ante Peri\u010di\u0107 \nPhotos: Tomislav Mari\u0107 <\/strong><\/pre>\n\n\n\n
Snje\u017eana Abramovi\u0107 Milkovi\u0107 has been one of the most prominent personalities of Croatian culture for a while now. Her decades-long career has been marked by dancing, choreography, production, and direction, while in recent years she has acted as director of the Zagreb Youth Theatre, one of our most important theatres. Ups and downs, sweet memories and bittersweet lessons \u2013 there are plenty different aspects to our interviewee\u2019s career, all linked by a common denominator: the love for all things theatre.<\/strong><\/p>\n\n\n\n
Snje\u017eana Abramovi\u0107 Milkovi\u0107, who is also the founder and curator of the Dance and Non-Verbal Theatre Festival San Vincenti, is in the middle of her third term as head of the Zagreb Youth Theatre, and she told us what this theatre in Teslina Street has in store for the remainder of the season.<\/strong><\/p>\n\n\n\n
\u2013 We started off the season with the play Twelfth Night, or What You Will, based on the eponymous play by Shakespeare, directed by Polish director Grzegorz Jarzyna and staged in co-production with the Dubrovnik Summer Festival. Jarzyna also wrote the text for the play together with Roman Pawlowski. After that, in December, the audience was treated to the premiere of the play for young people titled Euphoria, Ksenija Zec\u2019s authorial venture. In addition to that, we are working on staging certain original works by Hungarian directors Arpad Schilling and Borut \u0160eparovi\u0107, while Selma Spahi\u0107 will direct Shadow Pandemic, our co-production project subsidised by Creative Europe, which we\u2019ll put into action when the Bor\u0161tnikovo sre\u010danje Maribor Theatre Festival and the Belgrade Drama Theatre give Selma the green light to say \u201cAction!\u201d.<\/p>\n\n\n\n
Since the beginning of September, we have made guest appearances in Prague, Skopje, and Belgrade, and we are planning to do more international tours… So that\u2019s the news. We\u2019ve got a lot of plans and projects to look forward to, and in addition, our current repertoire counts as many as fourteen excellent plays, ranging from Black Mother Earth, Eichmann in Jerusalem, I Am Who I\u2019m Not, It\u2019s Fine as Long as We Die in Due Order, all the way to The Brothers Karamazov, The Cherry Orchard, and My Husband \u2013 says Abramovi\u0107 Milkovi\u0107, adding that this season the Zagreb Youth Theatre decided to turn to original works and distinct directorial personalities and manuscripts:<\/p>\n\n\n\n
\u2013 Original projects step out of the comfort zone of drama scripts, but it is this very risk that makes room for fresh authorial aesthetics. Giving a chance to authors and directors who deal directly with current social issues is part of our concept, which turns the theatre into a place for questioning and discussing our reality and current events, such as the growing gap between different groups in society, the debt bondage that restrains the majority of citizens, corruption, the pressing need for developing civic awareness, and learning to take responsibility for past traumas with which we\u2019re dealing way too inefficiently \u2013 she says.<\/p>\n\n\n\n
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The Zagreb Youth Theatre has recently welcomed two new members to the ensemble, Toma Medve\u0161ek and Iva Kraljevi\u0107, and the director perceives this reinvigoration of the ensemble as a perfectly natural process, emphasising how wonderful it is to see new and talented actors become part of the Zagreb Youth Theatre family.<\/p>\n\n\n\n
\u2013 Every generation should be represented in the ensemble cast because the texts are not written exclusively for young people. It\u2019 s wonderful to see motivated young people who bring new energy to the team, at the same time being very respectful to their older colleagues and receptive to their words of wisdom \u2013 she tells us.<\/p>\n\n\n\n
We further inquire her to tell us what she thinks, generally speaking, about permanent ensembles and their future prospects.<\/p>\n\n\n\n
\u2013 I doubt that the model of permanent ensembles will be abandoned, and that Croatian theatres will be organised according to the Italian and Spanish model, which also prevails in most French theatres, where casting calls are held for every single play. One thing\u2019s for sure: each model has its pros and cons. I think that the bigger problem we\u2019re facing is the mismatch between our education system and the actual demand for actors and actresses; there are far too many acting schools and colleges in comparison to the production capacity of institutions, as well as of the independent scene. My heart aches when I see actors with a degree scraping by as waiters…<\/p>\n\n\n\n
Last October was one of the most difficult periods in the life of our interviewee so far. Despite the fact that her theatre was celebrating its 75th anniversary at the time, which should have been a joyous occasion, Snje\u017eana Abramovi\u0107 Milkovi\u0107 had just lost her mother. How does one come to terms with such a devastating loss, and is it even possible to rejoice in professional achievements while one\u2019s private life is falling apart?<\/p>\n\n\n\n
 \u2013 We all go through rough patches in our lives, and the most difficult are marked precisely by the departures of our loved ones. And, as much as we are aware of illness and old age that remind us of the transience of life, we have difficulty accepting it. Losing a loved one comes with reminiscing, pondering our attachment to other people, and dealing with our own mortality. My private life, quite naturally, holds a much stronger influence on my feelings because it\u2019s intricately connected to my very existence, but it is the professional triumphs, such as successful plays, guest appearances, and co-productions, that help me feel fulfilled. Namely, the reason why I have worked in the performing arts for many years is precisely so that I can deal with my own emotional states, fears, loves, happy moments, and the meaning of life in the most beautiful way imaginable\u2014through creation on stage.<\/p>\n\n\n\n
Abramovi\u0107 Milkovi\u0107 finished elementary school in \u0160ibenik, after which she graduated from high school and then college in Zagreb. She associates her childhood days to the scent of Mediterranean herbs, long bike rides, and almond blossoms. She says she and her friends always played outside when it wasn\u2019t cold, and then curled up with a good book during winter.<\/p>\n\n\n\n
 \u2013 I loved the Juraj \u0160i\u017egori\u0107 City Library in \u0160ibenik; whenever I borrowed a book, I couldn\u2019t wait to get home, so I\u2019d start reading it on the way to my house \u2013 boy, was I impatient. Comparing different times doesn\u2019t do any good, even though all generations tend to do that, but I don\u2019t want to fall into that trap. The best moment is the one we\u2019re living in. I just hope we don\u2019t completely bring the country we\u2019re leaving to future generations to ruin, since we\u2019re well on our way to making that happen \u2013 says this native of \u0160ibenik, who constantly takes the Zagreb Youth Theatre\u2019s ensembles on tours for the sake of participating in various festivals and making guest appearances, the latest of which took place in Skopje, where they staged The Brothers Karamazov at the MOT Theatre Festival, and in Belgrade, where they played Eichmann in Jerusalem at the Belgrade Drama Theatre.<\/p>\n\n\n\n
 \u2013 The Zagreb Youth Theatre made frequent guest appearances in neighbouring and other foreign theatres before, and during my term, we\u2019ve toured in Slovenia, Germany, Poland, Hungary, Israel, Romania, Lithuania, Italy, the Czech Republic, Slovakia, and Russia. It is equally wonderful and terrifying to entertain international festival audiences that are well-informed and up to speed on all that is going on in the world of theatre. Each audience has a different mindset, which is interesting to observe\u2013the sense of humour is different, so spectators in different countries laugh at different parts of the play. Certain plays are better received at festivals than at home, and this is usually the case because festivals usually promote new trends \u2013 she explains.<\/p>\n\n\n\n
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Director of the Zagreb Youth Theatre can frequently be seen at opera and ballet productions, so we asked her what was the last piece that took her breath away.<\/p>\n\n\n\n
\u2013 The last shows I\u2019ve seen were the Rigoletto opera and the Hamlet ballet at the Croatian National Theatre in Zagreb. I\u2019m not a regular at theatres; I\u2019d love to attend more shows, but I do try to go to as many as possible. I was delighted with Ljubomir Pu\u0161kari\u0107 in the role of Rigoletto \u2013 he truly did it justice. But I mostly go to drama productions as well as contemporary dance performances. I would also recommend Gran Bolero by Jes\u00fas Rubia Gamo, as performed by the Zagreb Dance Company, and En Knap from Ljubljana. The play pulls the spectator into a sort of hypnotic ritual \u2013 says Snje\u017eana Abramovi\u0107 Milkovi\u0107, adding that she really likes open-air theatres: even though they are technically more demanding, they add extra magic to the performances, especially in historical architectural settings such as the Renaissance square, the castle, and the lodge in Svetvin\u010denat in Istria, which become the stage of the Dance and Non-Verbal Theatre Festival San Vincenti every summer.<\/p>\n\n\n\n
She says there are many theatres with which she would like to collaborate, but her fondest memories are attached to the theatres where the audience responded enthusiastically to a performance because the space, no matter how attractive it is, has nothing to show for its beauty without a satisfied audience.<\/p>\n\n\n\n
She experienced the most challenging moment as head of the Zagreb Youth Theatre when the City of Zagreb decided to hand over the premises of the Zagreb Dance Centre (ZPC) in Ilica to the Zagreb Youth Theatre.<\/p>\n\n\n\n
\u2013 It took them a while to find an adequate public institution to \u201cjoin forces\u201d with ZPC. I think the reason why they decided on the Zagreb Youth Theatre is that contemporary dance has been widely represented in our theatre for over two decades. I didn\u2019t agree with that decision at the time, and I still think that ZPC should be a separate establishment dedicated to dancing. In addition, ZPC\u2019s stage is not big enough for larger ensemble performances, so it would be fantastic if Croatia finally founded a national dance centre, considering the long-standing tradition of contemporary dance in our country. I handled this situation by ensuring the most favourable working conditions possible for the ZPC section, at least as much as our organisational and financial capacities allowed me. I hope that ZPC will go its separate way in the near future, but that depends on the city\u2019s cultural policy \u2013 she says.<\/p>\n\n\n\n
On the other hand, she has nothing but good things to say about the theatre, and her most memorable experiences include meeting with extremely talented directors and choreographers, as well as staging and watching magnificent productions. Over the course of her decades-long career in theatre, she found herself in many bizarre and dangerous situations, but the one that takes centre stage occurred in February 1992, in the midst of the Homeland War, when she participated in the first wartime premiere in the ruins of the since-restored Croatian National Theatre in Osijek.<\/p>\n\n\n\n
\u2013 Sanja Ivi\u0107 directed Beckett\u2019s Footfalls, and Ksenija Zec was in charge of staging. During the performance, the bombing started; the grenades kept hitting closer and closer, but none of us \u2013 and the entire cast and crew were women \u2013 left the scene; we simply didn\u2019t want to break character by showing a lack of character. That\u2019s called a theatre drill! Then the former intendant Zvonimir Ivkovi\u0107 came on stage and officially called off the show \u2013 she recalls.<\/p>\n\n\n\n
\"\"<\/figure>\n\n\n\n
She claims that dancing still holds a tremendous influence on her: it left a mark on her discipline, but also on her concept of artistic freedom and emotional expression itself.<\/p>\n\n\n\n
\u2013 Dancers have more rehearsals than performances in their career, so they are in the hall every day, whether they have a show or not. On the one hand, this is how they acquire discipline; on the other, it is how they develop a certain resistance to form and conventions. I\u2019m interested in new approaches and taking artistic risks; by exploring new, original manuscripts, I developed a preference for author\u2019s theatre and crossover genres \u2013 head of Zagreb Youth Theatre admits to us. To that we add the obscure traffic of time and the short span of dancers\u2019 careers, which they are acutely aware of. Snje\u017eana Abramovi\u0107 Milkovi\u0107 says that it is something inevitable that we must make peace with. So there is not much room or need for regrets\u2026<\/p>\n\n\n\n
\u2013 I do what I love, and I\u2019m constantly coming up with projects and initiating numerous collaborations. I\u2019m especially proud of the international ones. I try not to think about time too much: I focus on the projects ahead and that\u2019s what keeps me going. My only regret is that we are not a sentimental society when it comes to the performing arts. We are letting many iconic plays, as well as great directors and choreographers, fall into oblivion just because we don\u2019t have a multimedia library where one can watch plays from ten, twenty, or thirty years ago. It\u2019s such a shame because keeping records would provide the new generations with an insight into the most diverse styles of work.<\/p>\n\n\n\n
As for literary works, she swears by Flights by Olga Tokarczuk, and she lets us in on a secret: her unfulfilled dream is to have her own theatre with her own troupe and not depend on public funding.<\/p>\n\n\n\n
\u2013 I\u2019ve always been in awe of the troupes that spend six months at a time on world tours \u2013 that\u2019s something I\u2019ve always wanted to experience.<\/p>\n\n\n\n
To conclude our interview, we ask her what she would ask regular visitors to the Zagreb Youth Theatre if she were a journalist:<\/p>\n\n\n\n
\u2013 Does the Zagreb Youth Theatre surprise you with each new play and is every visit to the Theatre a refreshing, special experience? \u2013 she gives us her answer-question with a smile on her face.<\/p>\n\n\n\n
And if you ask us, we believe that anyone who has set foot in the Zagreb Youth Theatre at least once would wholeheartedly and without doubt give an unequivocal, affirmative answer to that question…<\/p>\n","protected":false},"excerpt":{"rendered":"
Snje\u017eana Abramovi\u0107 Milkovi\u0107 is in the middle of her third term as head of the Zagreb Youth Theatre. 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