Batrgamo se u osrednjosti!

Nataša Ninković

 

 

Jedna od najangažovanijih glumica u Srbiji može da se pohvali velikim brojem izuzetno zahtevnih i aktuelnih uloga kako u pozorištu, tako i na filmu. Nataša Ninković za Creative Art Fokus govori o značajnim ulogama, ličnim stavovima i svom aktuelnom angažovanju.

 

 

Kakve Vam uloge leže? Da li volite da igrate junakinje koje su Vam slične po karakteru ili Vas ipak više privlače potpuno suprotni karakteri?

 

Ne postoje striktna pravila. U smislu, nekad vam je nešto toliko slično, prosto preblizu, pa ne znate, ne vidite šta treba da izdvojite da bi vas uloga pokrenula. Kao neka vaša lepa, ali stara i iznošena košulja. Ona je još uvek lepa, ali za vas neinspirativna. S druge strane, neki likovi potpuno suprotstavljeni vama privatno bude maštu i pružaju ogromne mogućnosti. Najbitnije je da razumeš njihove postupke i porive. Ne moraš da se slažeš s njima, ali moraš da ih razumeš i opravdaš. Tako nekako bi trebalo da bude. Ipak, definitivno mislim da ne postoje pravila. Nekad sve uradiš kako treba i ne uspeš, nešto nedostaje. Sa druge strane, ponekad se instinktivno probijaš kroz ulogu, nagonski reaguješ i zablistaš.

 

 

Možemo li okarakterisati jednu ulogu izazovnijom i težom ukoliko ona donosi izvesne lične dileme i preispitivanja?

 

Svaka uloga koja ima, esnafski rečeno, puno mesa, je dobra uloga, izazovna. To znači da nije pravolinijska, da provocira, da pomera lične i profesionalne granice. Postoje uloge koje te lično mnogo pomere, ali su profesionalno nevidljive, i obrnuto. Lepo je kada se dese istovremeno, što se retko dešava.

 

 

Da li postoji problem sa smeštanjem glumaca i glumica u određeni kalup od strane reditelja i producenata? Da li se susrećete s tim problemom?

 

Na malom tržištu, poput našeg, to je neminovnost. Ja imam sreću što svoje uloge ne delim na pozorišne, filmske i TV uloge, tako da imam širok dijapazon. Ako bih delila, rekla bih da na filmu dobijam uvek neke teške, dramske uloge. One su najupečatljivije. Kada primetiš da nemaš šta više da daš u takvoj ulozi, prosto moraš da je odbiješ. To je danas teško. U nedostatku posla počinješ da razmišljaš kako je bitno da radiš, pa makar bilo šta. Tu nastaje problem.

 

 

Da li je teško dobiti kvalitetnu ulogu danas?  Šta je uopšte to što jednu ulogu definiše kvalitetnom?

 

Kvalitetne uloge dođu. Ne mogu reći često, ali, one su tu. Pitanje je da li si spreman i dovoljno istreniran da ih takvim načiniš. Iz tog razloga pozorište, ne mogu reći najviše volim, ali osećam prema njemu duboko poštovanje. Pozorište mi pruža stalni prostor da radim na sebi, da budem u treningu i držim sebe budnom.

 

 

Koliko se ističe profesionalnost u radu danas?

 

Kada je profesionalnost u pitanju, mi smo kao narod u totalnom deficitu. Sve bi lakše bilo kad bismo znali gde nam je mesto i šta je naša dužnost. Ovako, stalno susrećemo ljude koji rade neki posao sa svešću da ne bi trebalo da ga rade i sa mišlju da bi nešto drugo mnogo bolje radili.

 

 

Koje je Vaše mišljenje o trenutnoj situaciji u pozorištu u Srbiji? Šta se neguje i čemu se daje prednost? Da li se više neguje klasika i nešto za šta se može reći „da ima prolaz“ ili se prihvata i novo, avangardno?

 

Sve je to povezano sa prethodnim pitanjem. Povezano je sa svesti o nama samima, s tim ko smo i gde treba da idemo. Kako smo mi kao čitava nacija dezorjentisani i izgubljeni, posledice se vide na svakom koraku. Kada jasno znaš ko si i prihvatiš sebe kao takvog, možeš hrabro i odvažno da ideš napred, ne plašeći se i ne stideći se sebe. Tad možeš da radiš klasiku na moderan način, možeš da radiš „ono što prolazi“ bez pretencioznosti da to nazivaš drugim imenima i, naravno, avangardu sa jasnim konceptom. Mi nemamo jasnu predstavu čime bi trebalo da se ponosimo, čega da se stidimo, a čega ne, da li smo ono što mislimo da jesmo ili ono kako nas vidi svet. Batrgamo se u osrednjosti. Srećom, dešavaju se izuzeci. Doduše retki.

 

 

Ukoliko biste u ovom trenuku pravili presek svoje karijere, postoji li neka uloga po kojoj biste želeli da Vaša karijera bude obeležena?

 

Volela bih da to ne bude jedna uloga. Ipak, ne odlučujem ja o tome. Moje je da radim, a šta će iza toga ostati, videćemo. Nadam se, dosta toga.

 

 

U stalnoj ste postavci Narodnog Pozorišta. Samim tim imali ste priliku da igrate neke od najčuvenijih junakinja svetskog teatra. Da li je neka uloga ostavila poseban pečat na vašu karijeru, ali i na Vas lično?

 

Gotovo svaka uloga mi je donela nešto novo. Nekad je to isključivo profesionalni pomak. Nekad su to lična pomeranja i suočavanja, koja nisu uvek lepa i bezbolna. Nekad se dogode nova poznanstva koja su znala da se pretvore u prijateljstva. To je uglavnom vezano za rad u pozorištu, jer je to jedan kontinuirani, duži proces gde su ljudi upućeni jedni na druge. To je definitivno, oplemenilo moj život i učinilo ga punijim i sadržajnijim. Od predstava koje su trenutno na repertoaru izdvojila bih „Figarovu ženidbu i razvod“. Tu postoji divna energija i uključen je veliki broj talentovanih i dragih mi kolega. Lik Suzane u toj predstavi mi je izuzetno drag.

 

 

Među poslednjim ulogama nalazi se i uloga neverovatne Hede Gabler. Ovu ulogu nazivaju i „ženskim Hamletom“. Kako biste Vi okarakterisali ovaj lik?

 

Nikad se nisam bavila nijednim likom i toliko radila na njemu kao što je to bio slučaj sa Hedom. Ona je neuhvatljiva, tajnovita, emotivno osakaćena, zarobljena u prošlosti i svojim idealima, željna da sebi i svom životu da neki smisao. Bilo je teško i kolegama i meni, ali izgleda da se isplatilo. Ta uloga mi je nuđena i pre deset godina, ali kao što se uvek ispostavi - sve dođe u pravo vreme.

 

 

Kako biste okarakterisali saradnju sa mladom rediteljkom Snežanom Trišić? Da li volite da sarađujete sa mladim rediteljima i kolegama?

 

Snežana je divna, blaga, a odlučna. Zna šta hoće, ume dobro da čuje, a na kraju uvek sebe posluša. Volim da radim sa mladim kolegama, samo se povremeno iznenadim. Kada naiđe neki problem, ja sedim i čekam da mi se ponude odgovori, a onda shvatiš da se ti odgovori od tebe očekuju, zbog zrelosti i iskustva koje sam stekla. Tad se trgnem i upitam – bože, zar je već toliko vremena prošlo? Nekad sam na to ponosna, a ponekad...

 

 

Da li ste razmišljali o tome da prenesete svoja znanja i bogato iskustvo budućim mladim kolegama, odnosno da li ste razmišljali da radite na Akademiji?

 

Poznajem neke svoje kolege koji to dobro rade. Razgovarajući sa njima, shvatam koliko ti snage i strpljenja treba da bi u tome bio uspešan. Mislim da ja to još uvek nemam. Prevelika je odgovornost. Prosto ne znam da li bih umela da im sve to prenesem na pravi način. Ako dođe taj trenutak, prepoznaću ga. U tom slučaju - zašto da ne?

 

 

Veoma ste aktivni u radu na TV serijama. Da li mislite da su serije danas postale neophodno „nužno zlo“ ili se pak vraćamo zlatnom dobu domaćih kvalitetnih serija?

 

Volela bih da je ovo drugo. U poslednje vreme postoji tendencija i želja da stvari idu u pravom smeru. Mislim da je to dovoljno za početak. Upravo sam završila snimanje serije „Cvat lipe na Balkanu“ i moram da priznam, da sam uživala u radu. S nestrpljenjem očekujem emitovanje.

 

 

Ove jeseni započinje emitovanje nove serije „Nepobedivo srce“ u režiji Zdravka Šotre. Da li se uvek odazovete na Šotrin poziv na saradnju i zašto?

 

Ne uvek, ali retko mogu da mu odolim. U „Nepobedivom srcu“ sam samo gost. Tumačim lik jedne opasne, beskrupulozne i komične žene.

 

Narodno pozorište redovno tokom sezone ima gostovanja po gradovima Srbije. Da li je naporno uskladiti predstave koje se igraju u Beogradu sa gostovanjima? Koliko su ta gostovanja bitna za kulturni razvoj gradova u Srbiji?

 

Naravno da je to bitno. Postoje mnogi pravi zaljubljenici, ljubitelji pozorišta u unutrašnjosti, koji nemaju često priliku da priušte posetu predstavi. Ali, volela bih da vidite u kakvim uslovima, vrlo često mi tamo igramo. Postoje Domovi kulture koji nisu renovirani od 1945. godine.  

 

 

Kako ste se proveli u Francuskoj? Da li ste bili na odmoru ili je to bila radna poseta?

 

Išla sam privatno u Francusku. Zaljubljena sam u južnu Francusku. Posebno mi se dopada Provansa i Azurna obala. Pored dobro poznatih gradova na moru, neodoljiva su sela, priroda, hrana, atmosfera. Sve odiše otmenošću i stilom, a na to je teško ostati imun. Nažalost, poznajem samo još Pariz. Volela bih da obiđem severo-istok, Šampanju i Normandiju.

 

 

 

 

 

Struggle with mediocrity!

Nataša Ninković

 

One of the most engaged actresses in Serbia she can be proud of a large number of extremely demanding and ongoing roles in theater and on film. Nataša Ninković for Creative Art Focus talks about significant roles, personal attitudes and her actual engagement.

 

CA: What kind of roles suite You? Do You like playing the heroines that are similar to You in character, or You are more attracted to the completely opposite characters?

There are no strict rules. In a sense, sometimes you find something very similar to your personality, just too close, so you don’t know, you don’t see what you need to separate so the role would move you. Like some of your beautiful, but old and worn out shirt. It is still beautiful, but uninspiring for you. On the other hand, some characters completely opposed to you personally arouse your imagination and offer huge opportunities. It is essential to understand their actions and impulses. You don’t have to agree with them, but you have to understand and justify them. It should be something like that. However, I definitely think that there are no rules. Sometimes you do everything right and you fail, something is missing. On the other hand, sometimes you instinctively make your way through the role, you react instinctively and you excel.

 

Can we say that a role is more challenging and difficult if it brings some personal dilemmas and questions?
 

Every role that has, so to say, a lot of meat, is a good, challenging role. This means that it is not straightforward, instead it provokes, it moves the personal and professional boundaries. There are roles that inspire you a lot personally, but professionally they are invisible, and vice versa. It's nice when they occur simultaneously, which is rare.

 

 

Is there a problem with the placement of actors and actresses in the mold? Did You encounter this problem?
 

On a small market like ours, it is inevitable. I am lucky that I don’t divide my roles on theater, film and TV roles, so I have a huge variety of roles. If I had to divide them, I would say that I’m always getting some serious, dramatic roles on film. They are most striking. When you notice that you have no more left to give in such roles, you simply have to refuse them. It is difficult to do. In the lack of work you begin to think that it is important to work, even anything. There's a problem.

 

Is it hard to get a good quality role today? What is that makes it a good role?

You can get a good role. I can’t say very often, but they exist. The question is, are you prepared and sufficiently trained to make them such. For this reason, I can’t say I like the theatre best, but I feel deep respect for it. Theatre gives me a permanent space to work on myself, to be trained and keep myself awake.
 

 

How important is professionalism in work today?

When it comes to professionalism, we are as a nation in the total deficit. Everything would be easier if we knew where our place is and what our duty is. Thus, we constantly come across people who are doing some work thinking that they shouldn’t do it and that they would be better doing something else.

 

 

What is your opinion on the current situation in the theater in Serbia? What is popular and what has the priority? Is there something more classic and something to be said "that has a go" or are we accepting the new, avant-garde?
 

All this is related to the previous question. It is associated with the awareness about ourselves, with who we are and where we should go. We are as an entire nation disoriented and lost, and the consequences of that can be seen everywhere. When you clearly know who you are and you accept yourself as such, you can boldly and courageously go forward, not being afraid and not being ashamed of yourself. Then you can do a classic in a modern way, you can do "what has a go" without pretension to call it other names and, of course, the avant-garde with a clear concept. We have no clear idea of ​​what we should be proud of, or what we should be ashamed of, and vice versa, are we what we think we are or how the world sees us. We struggle in mediocrity. Fortunately, exceptions occur. However, rare.

 

If you had to define your career in this moment, is there a role for which you would like your career to be remembered?
 

I would like to think that there is more one role. However, I don’t decide about it. My task is to work, and what will remain after that, we'll see. Hopefully, a lot of that.

 

You are full-time employed at the National Theatre. Thus you had the opportunity to play some of the most famous characters in the theatre. Has any role left a special mark on your career, but also on you personally?

Almost every role brought me something new. Sometimes it is only professional development. Sometimes these are personal questions and dilemmas, which are not always nice and painless. Sometimes it happens that new contacts turn into friendship. This is mainly related to work in the theater, because it is one continuous, long process where people depend on one another. This has definitely enriched my life and made it fuller and more substantial. Of the plays that are currently at the repertoire I would single out "The Marriage and divorce of Figaro". There is a wonderful energy in this play and a large number of talented and dear colleagues are included in it. The character of Susan in the play is very dear to me.

 

Among the latest roles there is the role of incredible Heda Gabler. This role is called the "female Hamlet". How would you characterize this character?

I had never worked more on a character as it was the case with Heda. She is elusive, mysterious, emotionally crippled, imprisoned in the past and her ideals, eager to give some sense to herself and her life. It was difficult both to colleagues and me, but it seems to have paid off. This role was offered to me ten years ago, but as it always turns out - everything comes at the right time.

 

How would you characterize the cooperation with a young director Snežana Trišić? Do you like to work with young directors and colleagues?

Snežana is a wonderful, gentle and determined. She knows what she wants, she can listen well, and in the end she always listens to herself. I like working with young colleagues, only I get surprised occasionally. When we encounter a problem, I sit and wait for answers to be offered, and then you realize that they are expecting those answers from you, because of maturity and experience I have gained. Then I come to my senses and ask myself - God, has so much time passed? Sometimes I feel very proud of that, and sometimes ...

 

Have you thought about transferring your knowledge and rich experience to future young colleagues, or have you thought of working at the Academy?

I know some of my colleagues who are doing that well. Talking with them, I realize how much strength and patience it takes to be successful in it. I think I still don’t have it. It’s a huge responsibility. I simply don’t know if I knew how to convey all that to them properly. If that time comes, I will recognize it. In that case - why not?

 

You are very active in working on the TV series. Do you think that the series has become 'necessary evil' or we see the return of the golden age of high-quality series?
 

I wish it would be the other one. Lately there is a tendency and desire to make things go in the right direction. I think it's enough to start. I have just finished recording a series "Linden blossom in the Balkans" and I must admit that I enjoyed the work. I'm looking forward broadcast.

 

This fall the new series "Unbeatable heart" by Zdravko Šotra will start airing on TV. Do you always respond to Šotra’s call for cooperation and why?
 

Not always, but rarely I can resist him. In the "Invincible heart," I am just a guest. I play a dangerous, ruthless and comic woman.

 

National Theatre during the regular season has tours in the cities of Serbia. Is it hard to align the plays that are played in Belgrade with guest appearances? How important are the visits to the cultural development of cities in Serbia?
 

Of course it’s important. There are many true theatre lovers in the province, who do not often have the opportunity to visit theatre. But I would like you to see in what conditions we play there very often. There are cultural centers that have not been renovated since 1945.

 

How was it in France? Were you on vacation or it was a working visit?

I went to France on holiday. I love the South of France. I especially like the Provence and the Cote d'Azur. Besides the well known towns on the coast, villages, nature, food and atmosphere are overwhelming. Everything exudes refinement and style, and it's hard to remain immune. Unfortunately, I had the opportunity to visit only Paris besides that. I would like to tour the north-east, Champagne and Normandy.

 

Razgovarala: Tijana Drndarski

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