Iva Čevizović: "Ples mi je treći roditelj"

Iva Čevizović poznato je ime hrvatskog suvremenog plesa, profesije koja joj je izgleda urođena ili kako bi to ona sama opisala: "Ljubav prema plesu je došla prirodno, nekad imam osjećaj da mi je on treći roditelj, a roditelje jednostavno voliš".

Kao svoju najdražu, a ujedno i prvu u nekoliko kategorija, navodi predstavu "Skok u prazno". Bila je to njena prva velika predstava, prva profesionalna i prva s mentoricom i drugom mamom, kako od milja naziva Aleksandru Mišić. Nakon nje oduševila nas je u "La Famme", nastaloj u suradnji s koreografom Saint-louis Rhinom. "Najveći razlog zašto ću ju pamtiti je emotivni solo koji sam imala zbog kojeg sam na prvoj probi povraćala i zbog kojeg sam plakala u više navrata. Danas na njega gledam kao na vrstu terapije jer je Saint-Louis od mene tražio da „iskopam“ iz sebe najmračnija sjećanja i ružne situacije u životu", kazat će na temu ove predstave Iva. Već treću sezonu zabavlja nas predstavi „E=mc²“ ili „Volim fiziku“ . Nastala kao dječja predstava Zagrebačkog plesnog ansambla (ZPA), nakon toliko gledanja kako djece, tako odraslih odnedavno je prestala biti samo to, a u istoj pleše sa svojim "drugim tatom" Ognjenom Vučinićem. U sklopu ZPA imala je i priliku plesati na otvorenju Festivala plesa i neverbalnog kazališta u Svetvinčenatu. "To mi je teško definirati kao predstavu jer se radilo o čistoj improvizaciji. Kroz sami proces nas je vodio reformirani danski koreograf Bo Madvig, no samo predstavljanje i otvaranje je bilo u potpunosti na nama što je meni bilo odlično iskustvo", kaže.

Oduvijek je htjela plesati u mjuziklu što joj se ostvarilo u mjuziklu „Uskrsli“ pod redateljskom palicom Marka Cindrića i Roberta Boškovića. U ansambl ju je dovela koreografkinja Andrea Solomun s kojom je imala priliku plesati u „La Femme“, a upravo zbog te suradnje s Andreom i Robertom je dobila priliku raditi na još jednom mjuziklu - „Legendi Ružice grada“ koji je premijerno izveden u Gradskom kazalištu „Komedija“.

"Zadnje dvije predstave na kojima sam imala priliku raditi su nešto potpuno drugačije i nešto što je novo u Hrvatskoj. Radi se o fuziji breakdancea, hip-hop i suvremenog. Začetnik cijele te ideje je Mario Vrbanec kojeg znam više od 10 godina i jako sam mu zahvalna što me zvao da dođem raditi s njim. On je krenuo s time unutar Plesnog centra Tala u kojem već duži niz godina radi i vodi nekoliko grupa. Pa je odlučio napraviti nešto novo i nazvao to Brutala. Larisa Navojec kaže da smo mi Gerila, ali mislim da oba naziva govore dovoljno o tome što radimo i kako to radimo. Trenutno u tome najviše uživam jer imam priliku raditi i učiti nešto s čime se nikad ne bih susrela, a i ljudi su dragi, od kojih mi je nekoliko vrlo, vrlo bliskih prijatelja, pogotovo jedna. ;) Prva predstava naziva „Writing poems“ je izvedena kraj 2014. godine, a kako smo dobili vrlo pozitivne kritike upravo zbog te fuzije „nespojivog“, odlučili smo se korak dalje te smo u sklopu „Platforme“ izveli i drugu predstavu „Thinkers clock“. U njoj smo se više bavili istraživanjem, a manje samo plesom i akrobatikom, iako ni toga ne manjka. Zapravo smo izašli na pozornicu sirovim i nedovršenim materijalom, ali ljudi su jako pozitivno reagirali jer nisu tako nešto očekivali, pa nam je to još dodatno dalo vjetra u leđa da nastavimo s radom", zaključuje Iva svoj bogati opus.

Ženo odakle si nam se ti stvorila?

Stvorili su me mama i tata i mislim da su odmah požalili jer i danas mi govore da sam bila toliko aktivno dijete da su nekad imali osjećaj da su dobili trojke. S obzirom na to da sam znala visiti s lustera koliko sam energije imala, tako su me dali na ples i ritmiku s tri godine. Mislim da su to napravili samo da bi imali barem 45 minuta vremena da ugase mozak i malo odrijemaju. Tada je sve krenulo i još uvijek nije završilo. Prvo je bio hobi, onda je postao stil života, a sada mi je uz to i posao. Vjerujem da sam i Učiteljski fakultet upisala upravo zbog plesa jer s djecom oduvijek volim raditi, pa mi je nekako bilo logično da prvo ulažem u sebe da bih mogla biti kvalitetan pedagog i odgajatelj.

Što reći onima koji misle da je suvremeni ples samo bacakanje po podu?

S tim pitanje još uvijek vodim borbu i često kad me ljudi pitaju što radim, znam reći da mijesim kruh u pekari jer mi se ne da objašnjavati što je to suvremeni . Kad sam bolje raspoložena, obično kažem da dođu pogledati predstavu. Na žalost, danas su ljudi i dalje slabo informirani o toj umjetnosti, pa kad me pitaju znam li napraviti zvijezdu ili špagu, dođe mi da ozlijedim samu sebe. S druge strane, oni koji su i bili na predstavama često završe na konceptualnima, pa se više nikad ne vrate u kazalište. Mislim da je to i problem do ljudi koji rade predstave koje nisu plesne, ali se vode pod iste. Danas se sve počelo trpati u isti koš, pa je i dosta iskrivljena slika o tome što je to suvremeni ples. Obično kad me ljudi pitaju je li to ono kad se bacam po podu, odgovorim im da neka dođu vidjeti kako se ja bacam i odmah će poželjeti da rade isto.

Izražajnost i emotivnost su jako važne u suvremenom plesu. Kako dolaziš do izražajnosti u sebi? Kako dolaziš do emocije koja ti je potrebna za neku određenu ulogu?

Uvijek mi je vodilja nešto što mi se dogodilo u životu. S obzirom na to da sam vrlo emotivna osoba, do te mjere da u PMS-u plačem na Johnson&Johnson reklame, znam da me sjećanje na neku situaciju ili osjećaj može najbrže i najlakše dovesti do određene emocije i stanja. Bilo da je u pitanju sreća ili tuga, emocija koju proizvede nešto što sam proživjela nikada ne laže.

Rad kojih koreografa te inspirira i zašto?

Na našoj sceni ono što kreiraju Aleksandra Mišić i Ognjen Vučinić zajedno je poezija. Jako cijenim rad Maše Kolar koja je malo nabrijano čudo s toliko potkovanom baletnom tehnikom da je i zadnjem laiku jasno da je definitivno najjača na hrvatskoj sceni. Mogu reći definitivno da je u mojim očima ona broj jedan u Hrvatskoj, ako ne i šire. Požrtvovana, radišna, kreativna, sposobna i ono najgore od svega, jako skromna. Jednostavno je cijelapredivna. Što se tiče konceptualnih predstava, volim rad Roberte Milevoj zbog koje nakon što odgledam predstavu imam osjećaj da sam se nadrogirala najboljim drogama na svijetu.

Van Hrvatske, odmah u susjedstvu postoji čovjek u kojeg sam zaljubljena od prvog dana kada sam ga vidjela na sceni. Radi se o Milošu Sofrenoviću koji je za mene Bog suvremene umjetnosti jer njegova umjetnička opsesija povezivanja književnosti i pokreta je nešto što mene inspirira s obzirom na to da je književnost u mom životu vrlo prisutna i bitna.

Što se tiče većih kompanija, postoje tri umjetnika koja me uvijek ostave bez daha.

Jiri Kylian jedan od umjetničkih direktora Nederlans Dans Theatera koji radi koreografije uvijek par godina ispred ovog vremena i čije me ideje svaki puta zakucaju u stolicu i natjeraju me da ne trepćem. Njega mi je uvijek teško opisati jer ono što on radi u mojim očima je fuzija poezije i kozmogonije.

Nešto mlađi je Wayne McGregor, koji je s 22 godine osnovao Random Dance Company i postao prva rezidentna trupa na novoj sceni Sadler's Wells, području koje je nastalo isključivo zbog njega. Čovjek koji je s The Royal Ballet napravio predstavu na glazbu The White Stripesa, i to je razlog više zašto ga cijenim.

I posljednji, ali definitivno najdraži je Wim Vandekeybus, začetnik kompanije Ultima Vez – kompanija zbog koje bih prodala dušu vragu samo da budem dio nje. Njegova prva predstava „What the body does not remember“ je definitivno moja najdraža predstava i mislim da ni jedna neće moći zauzeti to mjesto.

Što ples predstavlja za tebe?

Sve pomalo. S one hladnije strane je posao koji plaća račune. Koliko god ples bio divan, treba bit svjestan da je posao. S one toplije strane je definitivno sve što ja jesam. Počela sam plesati zbog 100 crva u guzici koji mi nisu dali mira, pa mi je neka vrsta ispušnog ventila. Danas bez njega mi je nezamislivo funkcionirati. Moglo bi se reći da je stil života, iako mi je teško to tako kategorizirati. Neki odrastaju uz televizor, ja sam uz ples. Kako ljudi imaju potrebu kihati i piškiti, tako ja imam potrebu plesati. Toliko je već u mom tijelu da osjetim apstinencijsku krizu u ljetnim danima kad imam pauzu. S one psihološke i emotivne strane me hrani i liječi. Čini me sretnom, a još sretnijom kad to podijelim s drugima. Sve ono što ja osjećam dok plešem težim tome da prenesem i publici. Držim se one „Dance to express, not to impress“.

Što znači biti plesač/plesačica?

Ninja i Leonardo da Vinci u jednom. I ne zezam se! Trebaš fizički bit spreman k'o bauštelac koji 20 sati visi sa skele i radi posao od kojeg bi svaki smrtnik umro nakon 20 minuta posla, a s druge strane mozak ti mora raditi k'o da si stručnjak za fiziku subatomskih čestici. Kreativan proces uz fizički rad nije jednostavan. Pogotovo ako tijelo hoće, a mozak je otišao na godišnji ili imaš hrpu ideja, a tijelo uđe u fazu 80. godišnjeg starčića. Meni je puno jednostavnije kada ne moram koreografirati već moje tijelo posluži kao instrument za nečiju tuđu ideju. Tada uđem prazne glave u dvoranu i odradim probu od osam sati bez problema. No kad se radi o procesu u kojem trebam istraživati, onda je malo zahtjevnije iako mi je to osobno puno draže jer tada to stvarno dolazi iz mene. Puno je osobnije, intimnije. Nakon takvog rada kad stanem pred publiku osjećam se ogoljeno, nema laganja niti kamuflaže. I to publika osjeti.

Tko je dobar/izvrstan plesač/plesačica?

Onaj koji sam sebi prizna da nikad neće biti najbolji i koji će svaki dan skrušeno ući u dvorani i raditi na sebi. To je cjeloživotni proces. Ples je živi organizam koji svaki dan evoluira. Ili će te vrijeme pregaziti, ili ćeš biti egotriper ili ćeš raditi na sebi. Najveći plesači kroz povijest su bili jako skromni ljudi koji konkurenciju nikad nisu doživljavali kao inspiraciju već su pokušavali nadići same sebe. Zato i jesu bili veliki.

Kako se plesač/plesačica nosi s ozljedama?

Ja osobno vrlo teško iz više razloga. Jedan je što kod nas doktori ne znaju što bi s nama. Nitko ih nije naučio kako liječiti takve ozljede jer kretanje kakvo mi koristimo nije ni približno slično ljudima koji ne plešu. Za koljeno bih trebala ići specijalistu koji se bavi skijašima. Za rameni pojas onima koji liječe tenisače, bacače kugli i dizače utega. Za skočne zglobove doktorima za skakače u dalj i trkače. Najčešće kad dođem na pregled i kažem što me boli i kako je došlo do toga, obično me prvih 15 sekundi gledaju k'o da sam izreferirala rad motora podmornice na japanskom. A onda slijedi riječ koju valjda svi plesači na ovom svijetu mrze: „Mirujte“. Meni koja sam u pogonu 24/7 je noćna mora. I nikad to ne provedem do kraja jer imam osjećaj da mi vjera brani. Na svu sreću, otkrila sam genijalnu osteopatkinju koja čuda radi za moje tijelo i daje mi vježbe kojima dovodim tijelo u red. Izometrija je sveto pismo za plesače i sve sportaše. Osobno mi je jako dosadna i u početku mi bude gore, ali stvarno pomaže. Masaže su neizbježne i odlično je naći osobu koja ne radi samo jedan oblik masaže već se prilagođava i radi ono što u tom trenutku tijelu treba. Najgore je kad trebam odraditi predstavu, a ozlijeđena sam. Ne poznajem „štedi se“ frazu jer kad je predstava, ne mislim o tome. Obično kasnije osjetim posljedice. Ali zato tu postoji kinesiotaping koji je olakša pritisak i bol.

Koliko je u plesu bitno mentalno, a koliko ono emotivno?

Mentalno je bitno za fizički dio plesa, da zaštitiš svoje tijelo, da ne radiš stvari za koje nisi spreman ili zagrijan. Za brzo hvatanje sekvenci i koreografija kao i pamćenje istih. Emotivno je po meni najbitnije. Smatram da ne trebaš biti tehnički najbolji na svijetu jer ako nisi sposoban prenijeti emocije na publiku, uzalud sav trud i znoj u dvorani. Naravno da je predivno vidjeti sposobno tijelo koje radi stvari za koje si uvjeren da ne može, ali meni je osobno ljepše i draže vidjeti osobu koja je tehnički ograničena, ali u meni izazove takav val emocije da sljedeća tri dana samo o tome razmišljam. Kombinacija jednog i drugog je formula kojoj svi težimo. Tada se stvarno događa čarolija na sceni.

Čime bi se konkretno voljela baviti u budućnosti?

Voljela bih stvarati i pomicati svoje granice. Voljela bih plesati. Stvarno fizički plesati, a ne kontemplirati otkud taj pokret kreće i zašto. Želim ući u dvoranu, ubiti svaki atom u svom tijelu i izaći četveronoške. Još uvijek vjerujem da je moje tijelo sposobno učiti nove stvari i ponuditi publici ono zbog čega i dolaze na predstave. Dok god me tijelo služi, plesat ću jer ne želim s 50 godina žaliti što se nisam više fizički angažirala dok sam mogla, jer tad će mi biti prekasno. Voditi classeve mi nikada neće dosaditi. To je posao u kojem stvarno uživam. Kad znam da nekome donesem sreću i zabavu dvaput tjedno na par sati, mene još više usreći. Za koreografiranjem još uvijek nisam toliko luda. Druga stvar je raditi male koreografske fraze za moje polaznike i njihove produkcije. To uvijek mogu. Ali nekakve veće i ozbiljnije projekte smatram da još uvijek nisam dovoljno kompetentna i zrela. Možda jednoga dana. Ali ako i kad dođe do toga, onda će morati biti nešto totalno ludo… U skladu s mojim mozgom.

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           Iva Čevizović: "Dance is my third parent"

Iva Čevizović is a well known name of the Croatian contemporary dance scene, a profession which she was born with so it seems, or how she would describe it herself: "Love for dance came naturally, sometimes I feel it is my third parent, and parents you simply love"

As her favorite show, but also first in several categories, she points out the show "Leap of Faith". It was her first big show, first professional one and the first with her mentor and second mother, as she affectionately calls Aleksandra Mišić. After that she thrilled us in "La Famme", choreograped by Saint-Louis Rhino. "The biggest reason why I remember it, is the emotional solo that I had, which already at the first rehearsal made me vomit and I cry for several times. Today I look at it as a kind of therapy because Saint-Louis asked me to "dig out" my darkest memories and bad situations in life", Iva Čevizović recalls. She entertains us for the third season in the show "E = mc²" or "I love physics". Originally it was a children's show by Zagreb Dance Company (ZPA), but after being seen by not only children, but also the adults, it stopped being just a children's show long time ago, and in it she dances with her "other dad" Ognjen Vučinić. Within the ZPA she had a chance to dance at the opening of the Festival of Dance and Nonverbal Theatre in Svetvinčenat. "It is difficult to define it as a dance show because it was pure improvisation. Reputable Danish choreographer Bo Madvig led us through the process itself, but the presentation and the opening was entirely up to us as it was a great experience for me" she says.

She had always wanted to dance in a musical which she achieved in the musical "The Risen" directed by Marko Cindrić and Robert Bošković. She was led in the ensemble by choreographer Andrea Solomon with whom he had a chance to dance in the show "La Femme", and because of this collaboration with Andrea and Robert she was given the opportunity to work on another musical – "The Legend of the Rose Town," which premiered at the Comedy City Theatre.

"The last two shows I worked on gave me the chance to do something totally different and something that is new in Croatia. It's a fusion of break dance, hip-hop and contemporary dance. The originator of this whole idea is Mario Vrbanec whom I know over 10 years and I am very his grateful that called me to come work with him. He started doing something similar within Dance Centre Tala, where he is running and leading few groups for several years. So he decided to do something new and call it "Brutal". Larisa Navojec says that we are "Guerilla" but I think both names say enough about what we do and how we do it. At the moment that is somethins I enjoy the most because I have the opportunity to work and learn something I'd never did before, and the people are nice, with few I started being very, very close friends, especially with one. The first show was called "Writing poems" and it was shown at the end of 2014. and since we got very positive reviews because of this fusion we decided to take a step forward and to be a part of the "Platform" event where we performed the second show "Thinkers clock". In it we are more concerned with the research, rather than just dancing and acrobatics, although not that there is a lack of these two. In fact, we came out on the stage with raw and unfinished material, but people were very positive because they didn't expecte something like that, which gave us even more wind in the back to continue the work ", concludes Iva on the topic of her work.

Woman, where did you come from, who created you, tell us something about yourself?

I was created by mum and dad and I think they immediately regretted it, because today they say I was such an active child that they had the feeling they got triplets. Since I used to hang from the chandelier from all the energy, they enrolled my in contemporary dance classes when I was 3 years old. I think they did that just to get at least 45 minutes to turn off their brain and take a nap. Then it all started and has not yet ended. First it was a hobby, then it became a way of life, and now in addition to all of that is a job. I believe that I even applied for Faculty of Teacher Education because of dance, since I always loved to work with children, and it was somehow logical to me to invest first in myself so I could be a good teacher and educator.

What to say to those who think that contemporary dance is just tossing across the floor?

I still lead the struggle with that issue and often when people ask me what I do, I say I make bread in the bakery because I don't feel like explaining what contemporary dance is. When I'm in a better mood, I usually tell them to come see the show. Unfortunately, today people are still poorly informed about the art, and when they ask me if I know how to make a star or a string pose, it makes me want to hurt myself. On the other hand, those who have been to shows often end up going to conceptual work, and never return to the theater. I think it's the problem of the people who create performances which are not about dance, but they put everything under the same name. Today they began stuffing everything in the same basket, so the image of what contemporary dance is, is quite distorted. Usually when people ask me if throw myself on the floor, I answer them that they should come and see how do I throw myself exactly, and immediately they will want to do the same.

Expressiveness and emotionality are very important in contemporary dance How do you reach for expression in yourself? How do you get emotions that you need for a particular role?

I am always guided by something that happened to me. Since I am a very emotional person, to the extent that I cry in my PMS at Johnson & Johnson commercial, I know that a memory of a situation or a feeling can quickly and easily lead me to certain emotions and states. Whether it's happiness or it's sadness, emotions generated by something I had experienced never lie.

Work of which choreographers inspires you the most and why?

As far as Croatian dance scene what Aleksandra Mišić and Ognjen Vučinić create together is poetry. I greatly appreciate the work of Maša Kolar who is such a little wonder with such ballet technique that is obvious even to the amateur that she is definitely the strongest on the Croatian scene. I can definitely say that, in my eyes, she is number one in Croatia, if not beyond. Self-sacrificing, hard-working, creative, capable, and worst of all, very modest. She is completely beautiful. As for the conceptual shows, I love the work of Robert Milevoj because after watching his show I feel like I got high with best drugs in the world.

Outside Croatian borders, right next door there is a man whom I love from the first day I saw him on stage. It's Miloš Sofrenović who for me is a God of contemporary art because his artistic obsession linking literature and movement is something that inspires me since literature is very present and important in my life.

As for the larger companies, there are three artists that always leave me breathless.

Jiří Kylián, one of the art directors of Nederlans Dans Theater who makes the choreographies which are always a couple of years ahead of time, and whose ideas knock me down in my chair every time and force me not to blink. It's always hard for me to describe him because what he is doing is a fusion of poetry and cosmogony in my eyes.

Somewhat younger is Wayne McGregor, who at 22 founded Random Dance Company and became the first resident on the new stage at Sadler's Wells, an area that was created exclusively for him. The is a man who made a show with The Royal Ballet to the music of The White Stripes and that is all the more reason why I appreciate him.

And last, but definitely my favorite Wim Vandekeybus, the founder of the company Ultima Vez - the company for which I would sell my soul to Satan just to be a part of it. His first play "What the body does not remember" is definitely my favorite show and I think no other will be able to take place.

What does dance represent to you?

All a bit. On the colder side it's a job that pays the bills. As much as dancing is superb, one must be aware that it is a job. On the warmer side it is definitely what I am. I started dancing because of 100 worms in my ass who would not let me rest, so it is also kind of exhaust valve. Today it is unthinkable for me to function without it. You could say that it is a style of life, although I find it hard to categorize it like that. Some grow up with television, I grew up with dancing. Some people feel the need to sneeze and pee, and I have a need to dance. It is already so much in my body that I feel abstinence symptoms in the summer when I have a break. On the psychological and emotional side it feeds me and cures me. It makes me happy, and even happier when I share it with others. I am always trying to convey to the audience what I feel. I believe in the: "Dance to express, not to impress."

What does it mean to be a dancer?

Ninja, Leonardo and da Vinci all in one. And I'm not kidding! You need to be physically fit as a construction worker hanging from scaffolding and doing the work of which every mortal woudl die after 20 minutes, on the other side your brain has to work like you're an expert on the physics of subatomic particles. Creative process along with physical work is not easy. Especially if your body wants to move and your brain went on holidays or if you have lots of ideas, and your body enters a phase of 80 year-old old man. It is much easier for me when I don't have to choreograph so my body is an instrument for someone else's idea. Then I come with empty head and do 8 hours of training without a problem. But when it comes to the process in which I need to investigate, then it is a little more demanding, although I do personally prefer it because then it really comes from me. It's much more personal, more intimate. After such work when I stand in front of the audience I feel naked, there is no lying or camouflage. And the audience feels it.

Who is a good/excellent dancer?

He/she who admits that he/she will never be the best and who will enter humbly every day in the hall and work on himself/herself. It is a lifelong process. Dance is a living organism that evolves every day. Time will run you over, or you are going to become an egomaniac or you are going to work on yourself. The greatest dancers in history were very humble people who never experienced competition as inspiration but were trying to overcome themselves. That's why they were great.

How can a dancer cope with injuries?

Me personally very difficult for many reasons. One thing is that our doctors don't know what to do with us dancers. They had not been taught how to treat such injuries because movements we use are not even remotely like those of people who do not dance. For the knee I should go to a specialist who deals with skiers. For the shoulder belt to those who treat tennis players, shot putters and weightlifters. For the ankle, doctors who treat jumpers and runners. Most often when I come to the doctor and tell them how I feel and how it all happened, for the first 15 seconds they are looking like at me like I speak Japanese. Then follow the words we dancers hate: "Stand still." Me who is jumping around 24/7 that' s a nightmare. And I never rest until the end because I feel that my faith defends me from doing it. Fortunately, I discovered a brilliant osteopath who does wonders for my body and gives me exercises which bring my body in order. Isometrics is the Bible for all dancers and athletes. Personally, it is very boring and initially it makes everything worse, but it really helps. Massages are inevitable and it is good to find someone who is not doing only one form of massage but adapts and does what your body needs at the time. The worst is when I need to do the show, and I injure myself. I do not know "Save your body" phrase when there is a show , I don't hink about it. Usually I feel consequences later. But that's why there is Kinesio Taping which is facilitating the pressure and pain.

What is more important in dance – mental or emotional?

Mental is essential for the physical part of dance, for protecting your body, for not doing things that you're not prepared or heated for. Fort quickly capturing sequences and choreography as well as memorising of the same. Emotional side I think is the most important. I think that you don't need to be technically the best in the world because if you're not able to convey the emotions to the audience, all your effort and sweat in the gym won't be enough. Of course it is wonderful to see that the body is capable of doing things that you believed it can not do, but I personally prefer to see the person who is technically limited, but who challenges such a wave of emotions inside of me to the extend that next three days that's the only thing I think about. The combination of the two is a formula which we all aspire. Then the real magic happens on stage.

What do you want to do in future?

I'd like to create and move my limits. I'd love to dance. Really physically dance, not to contemplate where the movement comes from and why. I want to enter the hall, kill every atom in my body and come out on all fours. I still believe that my body is able to learn new things and offer the audience the reason why they should come to the show. As long as my body works, I'll dance because I do not want to be 50 years old and to complain for not being more physically engaged when I could, because then it will be too late. Holding classes is something I will never get bored with .This is a job which I really enjoy. When you know that you bring happiness and entertainment to someone twice a week for few hours, it makes me even more happy. For choreography I am still not so crazy. One thing is to do small choreographic phrases for my students and their productions. I can always do that, but something bigger and more serious , I believe that I am still not sufficiently competent and mature. Maybe one day. But if and when it comes to that, then it will have to be something totally crazy ... like my brain.