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Šandor Slacki ŠANI, CONFIDENTALLY… I was born in a militaristic family, in a tri-boarder area – Yugoslavia, Greece and Bulgaria – in the city of Strumica. My father is Hungarian, he was a member of the armed forces, my mother is a good woman, before marriage she was a professional theatre actress in Strumica. Imagine, they had a professional theatre then. My grandfather (mother’s father) was a bandit, at that time he worked for the Republic of Kruševo, he smuggled weapons, a merchant. There in Strumica, there were these fabulous oriental buildings. And my great-grandmother…she was called Sultana. I remember her well, in that old people’s home. Tiny, short, skinny woman, they have killed her husband. My grandfather (father’s father) was a bandsman and an alcoholic. I was ten months old when my parents got married. Young lieutenants didn’t get married at that time, how were they supposed to build a carrier, if they had a family? Tell me. My father was transferred to Strumica as a punishment. I hate the army, starting from the smallest professional soldier to the highest, the general, they are all guilty in the same way. I don’t separate them and I don’t distinguish them. They have a mind-set, which says: “carry out the order and regret afterwards!” It means, l am going to do something I understand it is unfair and afterwards I am going to regret it? What nonsense is that?! From Strumica we moved to Skopje and after the earthquake to Pula. My childhood ended, one night when I was six or seven years old and I discovered sexuality. Our landlord’s daughter, my brother and I were sleeping in the same bed, because my parents had gone to a ball. I discovered my first excitement, but, it seemed, the grownups made a big fuss about it. Then I discovered that women deserve something quite different from beating and hitting. In that moment my childhood was over. I stepped on the stage for the first time when I was nine in the ‘Tone Peruško” elementary school in Pula. I played a little alien robot, who comes to Earth and meets Father Christmas. There were many movements, many mechanic and broken gestures, maybe a sentence or two. As soon as I climbed on the stage, everything became very, very natural and I understood that for me that was it. DOESN’T HAVE THE “FAVORITE PLAY”, DOESN’T HAVE THE “BEST ROLE” “Caligula”? It is a play where everybody fell in love. What I saw and felt in the personal contact was unspeakable, it was told, that of course the play had nothing to do with the brain, but that it was fantastic. When Branko was doing the play “For a Black Man”, he came to my father, at home, because he heard that I was performing, and my father yelled: „What bloody acting, don’t talk to me about acting! Away, gypsies!”. Why do I in every role have a Mephistophelean characteristic? There’s no person who is not evil. Doesn’t exist. Every person has evil and good characteristics. It is about recognizing. When one discovers his or hers evil characteristics, then he or she can put them away. One knows how one reacts when one becomes evil and one has to protect oneself from it. But, one can as well develop it. For a role, for example. To be really evil or really good is a choice. I can be evil. My choice is not to be, but especially I don’t want to be manipulated to be evil. I celebrated my twentieth acting anniversary with the “Masque of Red Death”. “Charlie”, sweet, beautiful role. I played it in a few variations, a splendid fluttery character, it gives a lot of possibilities and anything can be done with it. Many roles I played don’t have a name. Everything doesn’t have to be defined. Why should it? Sometimes to define a character means putting it in a frame and forcing someone to think just about that frame, which you have given to it. I don’t want to come to an understanding by imposing my way of looking at things. I create my roles alone; Branko just corrects them for the stage. I don’t measure if a role is successful or not by the reaction of the critics or the audience. I have exclusively my own scale. I ask myself how functional a role is in the whole play. All the rest is not important. …MORE INCLINED TO SELF-CRITIC THAN TO SELF-PROMOTION We performed with “Prometheus” at the BRAMS. I, Stole and some friends of his some journalists got drunk, because satisfied with the play. The audience and the critics welcomed the play, while in the meantime we had four or five hours of rest. We started dabbling. A journalist from a radio asked me how I build the slow motion. “I stand up, stop, concentrate the balance, then motivate my leg and move it ahead…” For three months Radio Belgrade was playing that jingle “…and afterwards I motivate the other leg.. Shame killed me. …IT IS SAID THAT IT’S VERY HARD FOR HIM TO CLIMB ON THE STAGE FOR THE APPLAUSE It gets on my nerves. I don’t like glorifications. But I have my dose of vanity and narcissism, if not I wouldn’t be on stage. WHAT IRRITATES ME THE MOST… What irritates me the most is the self-infatuation of the people, who make a bad play and think they have done an excellent play and in this way consider me a fool. I can’t bear it. To let nonsense, just because it is more aggressive – rule our lives, there is no bigger mistake. It is good when people show you your mistakes, because next time you’ll have the chance to correct them. I am not a know-it-all. It is awful to be so self-admiring to think that you are the only, the best, the dearest, the youngest and the thinnest on stage. It doesn’t exist. It is horrible to me. If …MORE INCLINED TO SELF-CRITIC THAN TO SELF-PROMOTION We performed with “Prometheus” at the BRAMS. I, Stole and some friends of his some journalists got drunk, because satisfied with the play. The audience and the critics welcomed the play, while in the meantime we had four or five hours of rest. We started dabbling. A journalist from a radio asked me how I build the slow motion. “I stand up, stop, concentrate the balance, then motivate my leg and move it ahead…” For three months Radio Belgrade was playing that jingle “…and afterwards I motivate the other leg.. Shame killed me. …IT IS SAID THAT IT’S VERY HARD FOR HIM TO CLIMB ON THE STAGE FOR THE APPLAUSE It gets on my nerves. I don’t like glorifications. Butlhavemy dose of vanity and narcissism, if not I wouldn’t be on stage. WHAT IRRITATES ME THE MOST… What irritates me the most is the self-infatuation of the people, who make a bad play and think they have done an excellent play and in this way consider me a fool. I can’t bear it. To let nonsense, just because it is more aggressive – rule our lives, there is no bigger mistake. It is good when people show you your mistakes, because next time you’ll have the chance to correct them. I am not a know-it-all. It is awful to be so self-admiring to think that you are the only, the best, the dearest, the youngest and the thinnest on stage. It doesn’t exist. It is horrible to me. If I don’t say to the young members in INAT what have they done wrong, they will still be self-infatuating and will repeat the same mistakes. I get crazy then and I cut them impudently. No one can stop me there. This is what irritates me the most. EMOTIONAL RELATIONSHIP WITH INAT In the moment when INAT will close down, in that moment I won’t drop a tear. It just means that time has come for it to die, because we have brought it to the end. If a thing has come to an end, then we have to let it in peace. I am not God-given, neither is Branko. To cultivate something by force it’s totally absurd. If we can make a step ahead, make something new, then I am here ready to do it. INAT is an idea, not these walls. We have worked well even without facilities. INAT is a media through which I can very well express myself. Does it mean being emotionally connected? To the idea? I don’t ever think about these past twenty years, they don’t exist without the things that are to follow. But yes, I terrifically enjoyed, all these past years. I enjoyed in what I was doing. We created INAT in comedy, a genre, which is totally neglected nowadays and can be magnificent. We began with the comedy “Snow-White…”, this comedy created INAT. Now, with our last play “Circles”, we have started entering the humour field, to be fair, black humour with quite a delay. WHAT IS BRANKO SUŠAC TO YOU? Totally crazy. Workaholic. If he doesn’t work, he is dead. He doesn’t go on holidays. In his little brain something works very actively, something that he hasn’t raised to consciousness. He thinks he’s absolutely irreplaceable at every level of work or organization. The problem is that he has no confidence; he permanently has no confidence in people. In his heart he is not a repressed performer, he has a vision of the performance, how a movement should be and this makes him a good director. He sometimes tries to show through the motion what should be achieved from a role. It is horrible, awful and we all laugh our heads off. I repeat, he has the vision of the motion, but he doesn’t know how to transform it… And then he explains it to the actors through me. We have entered each other’s mind to …CHARACTER An excursion I made out of INAT was the one with Vili Matula and some people from Daska. However the play didn’t goin the direction I thought it should have gone. It wasn’t a good excursion. No, no I wouldn’t go playing in another ensemble. I am not interested in leaving. Something you do, you should do it in your environment. I do good things for my environment. To me it is very important where I work. I live here with these people; this is my environment, my home. I want to give something here. Outside people don’t know me for how much we may travel. I won’t be telling lies, it is nice to be a cheapskate. However, I am a traveller, who is rooted. I love being from Istria.
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Šandor Slacki Šani, povjerljivo… Rođen sam u militarističkoj obitelji, na tromeđi Jugoslavije, Grčke i Bugarske, u Strumici. Tata mi je Mađar iz Vršca, vojno grlo, a mama mi je dobra žena, prije udaje bila je profesionalna kazališna glumica u Strumici. Zamisli, tada su imali profesionalno kazalište. Djed po mami bio je hajduk, radio je svojevremeno za Kruševsku Republiku, švercao oružje, trgovac. Tamo u Strumici, bile su te prekrasne orijentalne zgrade. A moja prabaka…zvala se Sultana. Pamtim je dobro, u tom staračkom domu. Mala, niska, mršava ženica, ubili su joj muža. Djed po tati bio je mužikaš i alkoholičar. Imao sam deset mjeseci kada su se moji oženili. Mladi poručnici u to doba nisu se smjeli ženiti, kako ćeš ganjati karijeru uz obitelj? Prekomandu u Strumicu tata je dobio po kazni. Mrzim vojsku, počevši od onog najmanjeg profesionalnog vojnika pa do najvišeg, do generala, svi su jednako krivi za sve. Ne dijelim ih i ne razlikujem. Imali su mentalni sklop koji kaže: “Izvrši naređenja, a poslije se žali.”. Dakle, radit ću za nešto za što shvaćam da je nepravedno, a poslije ću se žaliti? Koje su to budalaštine?!” Iz Strumice smo otišli u Skoplje, a nakon potresa – u Pulu. Djetinjstvo je završilo jedne noći, imao sam 6 ili 7 godina, kada sam otkrio seksualnost. Kćerka našeg gazde, moj mlađi brat i ja spavali smo u istom krevetu jer su moji otišli na neki bal. Otkrio sam prvo uzbuđenje, a odrasli su, izgleda, oko toga napravili veliku frku. Tada sam shvatio da žene služe za nešto drugo nego da ih tučeš i mlatiš. I tog trenutka s djetinjstvom je bilo gotovo. Na pozornicu sam prvi put stao s devet godina, u pulskoj Osnovnoj školi “Tone Peruško”. Igrao sam malog robota svemirca koji dolazi na zemlju i upoznaje Djeda Mraza. Bilo je puno pokreta, tih mehaničkih i lomljenih kretnji, možda rečenica ili dvije. Čim sam se popeo na pozornicu, sve mi je postalo vrlo, vrlo prirodno i shvatio sam da je to za mene – gotova stvar. “Kaligula”? Predstava u koju su sve svi doslovce zaljubili. Ono što sam tad vidio i osjetio u osobnom kontaktu bilo je neizrecivo, govorili su da predstava, dakako, nema veze s mozgom, ali da je fenomenalna. Kad je Branko radio predstavu “Za crnca čovjeka” došao je mome ocu kući, jer je čuo da se bavim kazalištem, a ovaj ga je, ha, zašarafio: “Kakva gluma, nemoj mi s tom glumom! Mrš, cigani!” Zašto u gotovo svakoj ulozi imam mefistovsku crtu? Ne postoji čovjek koji nije zao. Toga nema nigdje. Svaki čovjek ima crtu zla i crtu dobra. Stvar je prepoznavanja. Kada ljudi prepoznaju svoju crtu zla, onda je mogu sklanjati. Znaju kako reagiraju kada postaju zli, treba se čuvati toga. Ali, mogu je i razvijati. Naprimjer za ulogu. Biti jako zao ili jako dobar, stvar je osobnog izbora. Znam biti zao. Moj je izbor da to ne želim biti, a pogotovo ne želim biti izmanipuliran da budem zao. Dvadesetu obljetnicu glume slavio sam s “Krabuljom crvene smrti”. “Čarli”, slatka, prekrasna, uloga. Igrao sam je u nekoliko varijanti, krasan, lepršavi lik, daje ti stvarno puno mogućnosti, možeš sve napraviti s njim. Mnoge uloge u predstavama koje sam igrao nemaju ime. Ne mora se sve definirati. Zašto i bi? Ma ponekad, definirati lik, znači staviti ga u okvir i tjerati nekog da misli samo o tom okviru koji si mu ti zadao. Ne želim se sporazumijevati tako da namećem svoj način gledanja. Ulogu kreiram sam, Branko samo korigira kako to funkcionira na sceni. Ne mjerim uspjeh ili neuspjeh uloge kroz reakciju kritike, publike. Imam isključivo vlastito mjerilo, pitam se koliko je funkcionalna uloga koju sam dao u kompletnoj predstavi. Sve mi je drugo totalno nebitno. …SKOLNIJI SAMOKRITICI NEGO SAMOPROMOCIJI… …KAŽU DA SI VRLO “TEŽAK” ZA IZAĆI NA SCENU PO APLAUZ. To mi ide na živce, ne volim glorificiranje. Al` imam ja svoju dozu taštine i narcizma, inače ne bih izlazio na scenu. NAJVIŠE ME NERVIRA… A najviše me nervira samozaljubljivost ljudi koji naprave lošu predstavu i smatraju da su napravili vrhunsku predstavu i onda me tako prave budalom. E, to ne podnosim. Dopustiti da glupost, zato što je agresivnija-zavlada našim životima, nema veće greške. Dobro je kad ti ljudi ukazuju na pogrešku jer onda je u sljedećem navratu imaš prilike popraviti. Pa nisam ja sveznalica. Grozno je biti toliko samoljubljiv i misliti da si jedini, najbolji, najdraži, najmlađi, najmršaviji na sceni. To ne postoji. To mi je strava. Ako mladima u INAT-u ne kažem gdje su pogriješili, oni će i dalje biti samozaljubljivi i dalje će raditi iste greške. Tu poludim i siječem ih bezobrazno. Tu me nitko ne može zaustaviti. Eto, to me najviše nervira. EMOCIONALNA VEZA S INATOM U trenutku kada INAT bude morao propasti, u tom trenutku neću pustiti suzu. Znači, došlo je vrijeme za njegovo umiranje, jer smo doveli stvar do kraja. Ako je stvar došla do kraja, onda je treba pustiti na miru. Nisam ja Bogom dan, a nije ni Branko. Na silu nešto održavati, totalno je besmisleno. Ako se može napredovati, učiniti nešto novo, onda sam tu. INAT je ideja, ne ovi zidovi ovdje. Mi smo dobro radili i bez prostora. INAT je medij kroz koji se dobro izražavam. Što to znači, biti emocionalno vezan? Uz ideju? O ovih trideset prošlih godina i ne razmišljam, ne postoje bez ovoga što slijedi. Ali da, strašno sam guštao, sve to vrijeme za unatrag. Uživao sam u tome što radim. Mi smo INAT stvorili u komediji, žanru koji je danas strahovito zanemaren, a može biti prekrasan. Naš početak bio je komedija “Snjeguljac…”, ta je komedija stvorila INAT. I sada smo s predstavom “Krugovi” počeli zalaziti u područje humora, crnog humora, doduše, s popriličnom zadrškom. …ŠTO JE TEBI BRANKO SUŠAC? Lud k`o vepar. Ako ne radi, gotov je. On uopće ne ide na godišnje odmore. U njegovom malom mozgu vrlo aktivno radi nešto što još nije osvijestio. On smatra da je apsolutno nezamjenjiv na svim nivoima rada i organizacije. Problem je u tome da nema povjerenja, on permanentno nema povjerenja u ljude. On nije u srcu potisnut izvođač, on ima viziju izvođenja, kako treba izgledati pokret i to ga čini dobrim redateljem. On nekada pokušava pokazati što od neke malene uloge treba dobiti. Kroz pokret. Ali to je strašno, to je grozno, mi tada umiremo od smijeha. Kažem, on ima viziju pokreta, ali je ne zna transformirati…A to onda izvođačima objasni kroz mene. Već smo toliko ušli jedan drugome u misao da možemo pretpostaviti način na koji i jedan i drugi razmišljamo. Vrlo brzo shvatim u koji pokret bih trebao uči da on sebi vizualno predoči sliku kretnje-doslovce i kretnju koju je imao zamišljenu. Nije to baš kao da mu čitam misli. Možda mu ja namećem svoje misli? Ako se ne slaže, onda me natjera da izvedem još tristotinjak različitih pokreta da bi nakon svega toga ustvrdio da ne funkcioniraju, da je onaj prvi pokret bio pravi. Branko i ja smo kao antibiotik: čini dobro za jednu stvar, ali truje drugo. Bez INAT-ova pomlatka, koji nam dođe kao jogurt, on i ja bismo se jako brzo zatvorili u naš meditativni odnos, u naš svijet, do kraja. KARAKTER Izlet izvan INAT-a imao sam s Vilijem Matulom, a igrali su i ljudi iz Daske. Ipak, predstava režijski nije išla u pravcu u kojem sam osjećao da treba ići. Nije to bio dobar izlet. Ne, ne bih otišao igrati u neki drugi ansambl. Ne zanima me otići. Nešto što radiš, trebaš raditi u svojoj sredini. Meni je važno gdje radim. Ovdje živim, s ovim ljudima, to je moja okolina, tu sam kući. Tu želim nešto dati. Tamo vani, oni mene ne znaju, koliko god mi putovali. I neću lagati, godi mi to ciganjenje. Ipak, ja sam putnik koji je ukorijenjen. Volim biti iz Istre.