Although she has dedicated her (professional) life to this and throughout the region she is one of the most recognizable and beloved actresses of the former Yugoslavia. Vesna Čipčić she carries in herself the spectrum of various arts that she indulges in, that she enjoys and that fulfill her, so apart from music, fine art, literature, and fashion are not far behind...
Vesna Čipčić, in a series of her roles, quietly and subtly influenced numerous generations that were growing up and that today's famous sentences, be they full of humor or instruction, are passed on to generations, often in the inability to approach the zeitgeist that remains regretted... O in a way, the play "Silently Flowing Mississippi" of the Belgrade Drama Theater, which he directed, also speaks to this Ivica Buljan, based on the motifs of the work of the same name by the laureate of the Nino Prize Vladimir Tabašević, but in one characteristic dress. The guest performance of that play in Podgorica, at the festival of the Regional Union of Theaters RUTA Grupa Triglav, was the reason for Vesna Čipčić's conversation with Magazin, but only one in a series of open topics. Her role in the work is unique, and even though Vesna Čipčić may be the main character, but not her, this gives this play special strength, symbolism and beauty, along with her colleague Branka Katić and young actors and actresses who complete the plot full of melancholy, anxiety, naturalism, and even love...
A special spectrum of character heroines is associated with this actress of special sensibility, enthusiasm and cheerfulness, equally in the theater, but also in numerous television and film projects in which she gained great popularity among audiences throughout the great country... Yugoslavia was small to her, she says in interview for "Vijesti", recalling her beginnings, which are very different from the way generations of her young colleagues grow up. However, she doesn't keep up with the times, she jumped on the train and goes with it, always in action, from guest appearance to guest appearance, while wishing for a rest, but equally enjoying all engagements.
In an interview with Magazin, Vesna Čipčić talks about the theater, the path and the maturation that led her to where she is today, she points out that she is constantly learning, both from her children and from other colleagues, and she singles out the actor and the director in particular. Branka Pleša... In addition, he talks about the RUTA festival, the necessity and importance of the common cultural space of the countries of the former Yugoslavia, talks about the exhibitions of his drawings, the colorful clowns he calls his friends and with whom he enjoys discovering new worlds, and announces a book dedicated to his father, as and the continuation of the famous "Crazy Years" series...
You have an interesting role in the play "Silently Flowing Mississippi" and you visibly delighted the audience in Podgorica during your guest appearance. How will you remember the process and what do you take from this performance and what do you provide to it?
I have known the director Ivica Buljan for a long time and have followed his work for a long time. I was able to travel to his premieres in Zagreb and Ljubljana to see his plays. So, it is something that is very close to me as a theatrical being and a theater person. It was a great pleasure, but also an honor, when he came to Belgrade to work on "The Mississippi Flows Quietly". I had the impression that we in Belgrade don't have that kind of theater and we don't nurture the kind of theatrical expression that Ivica nurtures. I found it very provocative and that's why I wanted to play in this project of his. Vladimir Tabašević wrote the text so well, smartly, wisely, that I can't even describe the pleasure of speaking his monologue...
My role in this play is not big, but it is significant and something that I really like to play. I play the mother of the main character (writer Vesna Čipčić, prim.nov), that mother who squandered and squandered her life, and now she cries all the time and prays to God that the same thing does not happen to her daughter. As it usually happens, that's exactly what happened.
The young team is engaged in the play, so it was a great pleasure for me to work with all of them, younger colleagues. I am one of those actresses who is always ready to learn, and will continue to do so, both from my children, the daughter of an actress anja and the director's son Outside, as well as from his young colleagues. It was a great pleasure to be a part of that process, and the show made us a real team. We all worked with so much love and gave ourselves to her that it is no wonder that we reached the results we reached.
Often actors say that everything depends on a good text. You worked on the work of Vladimir Tabašević, but the piece is still based more on improvisation, a theatrical type of complex improvisation. What is your experience when it comes to the text, whether it is pronounced according to someone's work or in the moment?
It is most important and it is of primary importance. I have to admit that it is especially important to me who I play with, and the more mature an actress I am, the more important it is to me. When I was young, younger, I didn't pay attention to it, I fought for my space and got by. Now I think it's very important who you're playing with, as well as the subject we're dealing with, and then the way the piece is written. Unfortunately, today a lot of things are done over the knee, a lot of things are done hastily, and the writers hardly have time to write texts and scripts fast enough as everything is happening and being filmed. But, my God, that's why there is a theater that is still somehow more elegant, more serious, and even more gentlemanly.
You say it shoots fast. We have been witnessing hyperproduction in cinematography for years, and on the other hand, there is constant talk of a crisis in the theater. But is it possible to see the core of theater and the power of acting on stage, in the live contact between the actor and the audience, alongside the hyperproduction in the sphere of television and film?
I recently spoke for the first time about the difference between the time when I was a young actress and today. When I started, I did a lot of filming and many people were inclined to say: "Ah, Čipcicka is a television actress"... I had to consciously cut that out. I don't even know now where that maturity came from at such a young age, but I simply had to draw a line and say: "Well, that's enough recording now. I have to dedicate myself to the theater". And only then, when I dedicated myself to the theater, did I get good roles and awards, as well as some of my acting accomplishments. Today, you first need to film a series, to be in the foreground, very popular, and then it will be easier to give you a role in the theater.
How was it before?
Totally against. At that time, God forbid that I recorded a commercial - I would have been consumed by darkness. There was such a time that I stopped doing music because in some circles questions were raised as to what I really am - an actress or a singer. And I had my own band, so I had to give it up as well. On the other hand, all that can only be used nowadays, and the fact that someone sings, dances, shoots commercials, plays in series, movies, and so on... However, you are not yourself every time. I realized that myself at some point, although it was all a bit devastating for me, but I realized that if I didn't jump on that train, I would stay at the old station.
You still go on that train today to the joy of everyone who has the opportunity to watch you... When you look at everything, what is your attitude towards acting as a vocation, a profession, a way of life or life itself?
My love for the profession I chose is so great that even today I go out on stage with so much joy, I do this job with great joy that sometimes it seems to me that I still have the same passion that I felt when I was started and took the first steps. Probably that is something that is very important in this business, which is persistence and duration. I'm whining a bit, I'm a bit tired, I'm always on the road, on away games, immediately after one game I go to a new one, from away game to away game, but that also carries me, gives me lightness. I think that's the only way he can do this job.
Films and series used to have a great impact on viewers of all ages, and you belong to those giants of the theater who shaped generations with their roles. From that wide range of different roles and projects, whether in the theater or on the small screen, can you single out something that marked you, either in the context of recognition and popularity or on the other hand character-wise, that built you personally and intimately?
You know what, it stands out there to work with Branko Pleša, primarily. The plays he directed, as well as the professional-friendly relationship with him, probably made me continue acting in a more mature age in a real and serious way. When I think back to that work with Branko, I had, and still have the impression today, that it was like a master's degree in our work. What I got from him, everything I learned from him, from the moment I met him, and as I continued to think about my work, is something that is indisputably valuable. It certainly left a big and biggest mark on me.
You were a guest in Podgorica as part of the RUTA festival, which unites the countries of the former Yugoslavia on a theatrical level. How important, and actually necessary, is it to use and expand the cultural space that we previously shared, but also to use the advantages of a common language?
We need that common cultural space. We actually need it. I remember, when I was a young actress, at one point the space of Yugoslavia was small for me, and how big it was, let alone this now when we all gathered in our small spaces. I am very happy about an initiative like RUTA. In fact, the audience explains all of this in the best way and shows us when we come to one of the cities of our region. How much they love us, how much they respect us, how much they look forward to us and eagerly await us, is something that we actors on stage can only describe as magical, magical...
A co-production of the play was also announced, in which all theaters members of the Regional Union of Theaters RUTA Grupa Triglav would participate. What do you think about that?
I think it's a fantastic and wonderful idea. I don't know whose idea it is, but I believe it is certainly ours Jug Radivojevic started somewhere, because he is extremely innovative, active, engaged, hardworking and diligent as a theatrical being. And of course I would very much like to participate in such a play.
Speaking of the cultural and artistic space of the former Yugoslavia, we also touched on it, the South... What are your memories of Yugoslavia from today's point of view, considering that many still see it as the ideal and the pinnacle of civilization of this so-called region?
You know how, as they say: "Of course he had it, then he didn't have it", well, literally. It is something that was artificially induced, that was not given or made possible by nature, but by bad politics. It's very sad, but, my God... I don't think we should suffer much, but rather try and reach out and share smiles with everyone around us.
Many say that there is not much difference between our countries and societies today... Do you agree with that and what "stings your eyes" the most when it comes to these separate systems?
I absolutely agree. What I would like to point out is that there is such a lack of care when it comes to culture, it is so unimportant, it is concluded based on how these countries of ours are run, and I hear a little bit from everyone how it is, that it is unbelievable ... That's why all of us (who remember) actually suffer from that time, we are all crippled in some way, and how are we going to get out of all that, considering that the economic crisis is what it is, and that the culture is always on margin, along with education, education and medicine..., I don't know. It's all somehow muscle-bound, I have the impression, in all countries of the region, no matter how hard we try. Maybe only Slovenia stands out and manages better than the others... I think that all other countries in the region share a similar fate.
Does lack of culture lead to chaos in society?
That's right, lead. My last premiere at BDP was "Idiot", also directed by Ivica Buljan. I was overjoyed when I heard that we were working Dostoyevsky. I was overjoyed when I went to see the play "Oedipus" at the Yugoslav Drama Theater... We provide so little, so television has cheapened the taste of the audience, with all kinds of "Pinks"... And if at least two people from the theater, after watching "Oedipus ” or “The Idiot” come out and they want to read a classic like Dostoyevsky or an ancient drama, then that's our great success. Young people don't know that, they don't even have the opportunity to study these works, the only ones who stand out are those for whom it is part of their profession. Because of all this, our work is missionary, so I believe that if the theater does not educate, then its purpose has not been fully achieved.
Would you like to add something to our conversation?
I am very happy that we performed the play "Silently Flowing Mississippi" in Podgorica, and it would be a pleasure for me to come with "The Idiot", I hope that there will be an opportunity for that in the near future. In addition, what I want for myself is to rest a little during the summer, because both this and the previous season were quite tiring for me... (smile)
"A piece of paper, colors and me as a reflection of my inner world"
Although it was not known until recently, you also nurture your painting talent, you also possess excellent tailoring skills, you had a musical band, you are constantly in action either in front of the cameras or in the theater or in all of these at once and on several sides, and in the meantime you wrote and now you are announcing a book. Based on all that, it is easy to conclude that art lies within you... How do you achieve it, but also nurture it?
Ever since my early youth, I have been a person who knew how to say that there are not enough 24 hours in a day. I bought a bicycle early to ride in Kikinda, so they asked me what I wanted because everything is close there, and my answer was: To be able to achieve as much as possible during the day. It's my nature, my temperament, who I am and how I was born. All these are some loves that I found along the way. I never believed that I would make an exhibition and deal with it. I don't like to talk about painting, because I just draw my clowns, and painters are already serious artists. The clowns I draw are my rather intimate friends, my joy... After all, I found some individual satisfaction in it: a piece of paper, paint and me. Since I am truthful, then I am very happy with everything that happens there... If it is good, then it is only my work and my credit, and if it is not good, it is again my criticism of me. On the other hand, in the theater you also depend on the director, the writer, colleagues, costumes, scenography, lighting and what not... This drawing is an individual and intimate act in which I found my friends in cheerful colors and that's actually a reflection of my inner world.
Can we expect more exhibitions in the near future?
I've been drawing for a long time, and I've had a few exhibitions. Due to circumstances, I had my first exhibition in the Netherlands, in Amsterdam, then in Noevegen, Novi Sad when I was awarded the "Grand Charter 'Branko Radičević'" award, when I played my monodrama in Kikinda and in Eger, Hungary. Whether I will continue to draw or not, I don't know, it all depends on the current inspiration, but also on free time.
Elsa returned to her old quarters
The sequel to the popular film series "Crazy Years", better known as "Zika's Dynasty", is in production. Is it even possible to revive such a project today and what is your attitude towards all this from this point of view?
That's right, it should be realized if money is collected. Unfortunately, many actors from that series are gone, so I was surprised when I heard that they intend to make a sequel to those "Crazy Years"... However, when I read the script written by Milena Marković, which is enough of a recommendation, I became sure that that story needs to be revived and that the question is a good thing. At the same time, her father Jovan Marković wrote the script of the complete series, so that also carries additional strength. Now Milena rolled up her sleeves and wrote a sequel. Among other things, she painted my crazy Elsa very nicely and I can say I'm looking forward to it all, why shouldn't I?
Elsa is a striking character who appears in several sequels... Where has life taken her and what is she like today, after so much time?
Elsa went to live in Germany, but still came back... Obviously, that certain period of her life was especially important for her, that is, the most important and significant. This is exactly what brought her back to her old places.
The book as a debt to the father, a trace of a time
You have announced a book, which brings a completely personal and important story. Can you tell the readers what it's about?
I'm writing a book about my father. I had an extraordinary father. He was a teacher, engaged in the teaching of initial reading, innovations in pedagogy and was so unusual, in a way, a very modern man and pedagogue. Today, I recognize some things that he emphasized, thought about and wrote about 50 years ago. During that time, he knew how to transfer a student from the first to the third grade, which was a big deal back then. Somewhere I feel a debt to my father and I want it to be recorded somewhere, to remain somewhere as a trace of a time.
I am already writing the third hand and I hope that this book will see the light of day in the near future.
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