The play "Things we do not talk about" directed by Nela Vitosevic with its premiere performance has already aroused the interest of the theater public because of the engaged approach, but also because of the honest acting.

Actress Ivana Pavlakovi,, at her age, can boast of a solid acting career, although she is not yet employed. He already has a wealth of experience on the institutional and independent theater scene, starring in a film and a popular character in a TV series. He approaches the acting profession with all his heart and soul, emotionally and dedicatedly.

He is often in the casting for the plays of Nela Vitosevic, and during their latest collaboration in the play "Things we do not talk about" he had to reveal part of his own intimacy. The play is produced by the Wonderland Theater in co-production with the Macedonian National Theater, where it is performed in the regular repertoire. The next performance is scheduled for December 4, as part of the program of the 46th Young Open Theater.

You play in several plays by Nela Vitosevic. What is her working principle and what is your communication with her as a director?

- I will try to explain in a very simple way. Each process is a special emotional roller coaster that develops and settles in me. It is really nice and precious that over the years Nela and I have somehow discovered and built our own, intimate language through which we literally understand each other on stage and in private life. A special pleasure and challenge for me is our last play "Things we do not talk about", because through it I feel like I took off and ground a heavy layer of skin at the right moment, and in parallel the whole play and the process we go through I think never will not end.

It is great that during the months of work I had the opportunity to constantly explore myself, to develop in a different way, to be scared (which is very, very healthy), to shrink my stomach - and then to return to the track wiser and bolder, to open up and play. And all this is impossible without an extremely skilled helmsman with a magic wand, such as Nela. I can't wait to see where we will sail together in the future. Because I know how much love, hard work and sincerity have been invested so far in all our joint collaborations.

Which text is easier to master in "Things we do not talk about" - the text with other people's testimonies or the text with your own testimonies?

- I think that there is no exact rule or formula for easier mastering of a text in this play. Because the truth we share on stage - whether it is our intimate story or received in an email from people who encouraged us to write - hurts me equally. The only difference is that the responsibility is much greater when someone entrusts your personal story to you. Through this process, it was proved to me in practice that the art that, above all, should loudly point out the injustices, that should be our example and make us at least a little better people - knows how to be equally cruel to us actors, so those anonymous stories they sent us, at times to hurt and grind me, even more than my private ones.

What things do you want to talk about publicly in your private life?

- I am scared and hedgehog from insincerity thigh under the carpet in private life. So, in front of my loved ones, who are counted on my fingers and with whom I function in my own, vicious circle - I consciously take off my iron armor when I share the equally bad or good things that everyday life serves me on a plate. I allow myself to breathe freely in front of them.

I will allow myself to be private here as well, so here is no shame, to publicly ask the Ministry of Culture and state theaters how many more years, decades, centuries maybe кога until when they plan to leave me and my extremely talented colleagues to "wander on the street ", and over the years we have worked hard and deserved a place in an ensemble. It is dangerous when a room is not ventilated and when fresh air does not enter it. Because my inner intuition, and above all, my reason, over the years have proved to me that there is no more dangerous thing than tapping into a place where we are, unfortunately - dumb witnesses.

Oh, yes, sorry for this intimate, but a very honest outburst above, I will only add that I have a feeling - especially in this pandemic - that at times we cringe more in ourselves and as if we forgot to share the beautiful things that happen to us. Why? I still do not have a crystal clear answer to that, I just know that I am very sorry for that fact and I would like to work on it.

(The conversation was published in "Cultural Press" No. 107, in the print edition of the newspaper "Free Press" on November 27-28, 2021)