Zaglavlje - Milorad Miskovitch

Fragments from interview with theatrologist Jovan Ćirilov

  • How is an artist born?
The initial instinct is very important for the gift to manifest itself. When it does manifest itself, a kind of awareness about the gift sets in. Then this awareness generates deeper awareness and the evolution of that awareness turns into a wish to devote oneself to it. It is not improvisation any longer - education begins. And at school one must work, work and work. For, as they say, talent is only a part of success, all the rest is work. That is a great truth, especially in ballet… Ballet demands sacrifice, more than other arts.
  • You were called the Prince of Dance for a long time because of your elegance, distinction and sense of proportion. So, you don't believe in pure virtuosity but something much more than that.

Pure virtuosity, if it is that perfect, becomes supreme art by itself. You have dancers, especially ladies who are abstract yet so fantastic in that technical abstraction. Of course, they do not emanate those vibrations that we remember forever. But they provoke admiration…

  • The French philosopher Alain said: "When the imagined is overcome by the created, acted out, it is art."

When you overcome yourself. It is the moment when you observe yourself: your reflection which doesn't really exist, already enters you. And then the moment comes when you don't need the mirror any more. The dancer first looks at the mirror during exercises and rehearsals and then acquires the real feeling of his body so that in the end, without the mirror, all that remains is the inner awareness, the moment when you have your inner mirror.

  • Would you say that the modern-age art of dance, from Renaissance to this day, has continued the role of the Vestals in the Hellenic religion, the faith's ecstatic moments showing the road to those who participated in it and believed in the ecstasy as a part of life and creation of the world?

In the Hellenic age dance was the sacred dance. As time went by, dance expanded to involve everybody. And then it became entertainment, a theatre construction. And in our age it has become the theatre's awareness about the present, the everyday, the emotions and problems of man and his surroundings, like a path leading out of it all, without offering a single solution, as a rebus put before the spectators which each one of them needs to solve in his own way. In other words, it's what Sartre and other philosophers postulated in their philosophy.

  • And what about ballet? What about the dancer before these big questions?

The dance, at its highest level, is the same as the biblical psalm, proverb and the Song of Songs. It is the moment when the thought stops, when it is neither the intellect only, nor knowledge, nor faith but something that transcends it all and communicates directly with the world and its essence.

  • Whence that ability in a dancer?

The human being is born with it. And when he works on it, he achieves his karma, evolves and is ready to return to where he started from. Time does not exist. This law of everything applies equally to five minutes and five centuries. On that road nothing is forbidden as long as one feels the need to go. There is neither right nor wrong but there is the question how to resolve their non-existence instead, that which is beyond right and wrong, because it is impossible to live without that solution. Although we don't have it, it will come because every being carries it within since birth.