INTERVJU / INTERVI EW 28 | Igra » Dance rus and epidemiological measures! These are strange times for everyone. We are ready, though I don‘t think a show is ever ready until it has been sharedwith the audience. The situation inMarch, aswell as the various protocols that will accompany it in Athens and Paris, should enable us to perform the premiere. And then the show should start its international life inNovi Sad. I hope that we‘ll succeed. I’m not a great optimist, but I’ve prepared for the best-case scenario.” You come from a country where the naked body is implied in culture, albeit only in antiquity. We don‘t feel uncomfortable looking at sculptures, but we do when it comes to a naked body in a theatre. How do you view that difference? “I understand, but that‘s not something I consider at all. I have no inhibitions regarding the human body, nor do I feel ashamed about that. As an observer, and of course as a creator, I understand that nudity can elicit a reaction among people, but as the years go by and new generations arrive, the simplest answer is to note that we were born this way and there‘s no reason why the theatre shouldn‘t include the image of a completely naked body.” In which way does the body inspire you; why do you expose it in front of the world, what are you saying with that? “The human body inspires me inmany ways. I consider it as a fascinating machine, and the way it can be transformed is a totally fas- “I‘mnot sure that I‘vemodernised dance. Perhaps I‘ve contributed, or offered another perspective, the way a story can be told through movements of the body. The fact that I‘ve been painting since I was a child, and the fact that I was educated as a traditional painter, defined the way that I observe things. It‘s very difficult to explain what it means to observe life through the eyes of a painter to people who don‘t engage in painting.” You once stated that you avoid expressing views in your plays... In that sense, what is it important for you to see on the stage, what kinds of questions should cinating story. I love the fragility of the human body, as well as the fact that I‘m fortunate that visual art has presented it in different ways over the centuries, creating a visual language that we all share throughout art history. It providesme with a way to communicate with people without words. Through the history of art, the presenting of the human body, which is so significant for all of us, represents our shared language.” You have modernised dance and present it as a show in which every movement is a picture, which is linked to the fact that you are actually an academic painter… Papajoanu je postao nadaleko poznat 2004. godine kao tvorac ceremonija otvaranja i zatvaranja Olimpijskih igara u Atini 2004. Papaioannou achieved worldwide repute in 2004, as the creator of the opening and closing ceremonies for the 2004 Athens Olympics
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