To Pursue and Find Perfection
by Nadina Memagic
Humans pursue perfection. That’s what we do. We strive to arrive… back Home. To be united with the Perfect. Thats why we long for, search for, reach for, crave, dig, desire perfection.
And we find it. Fractions of it. In fleeting moments, the blink of an eye. Little love letters from the Divine. Some find it in the sound of the rain, some in the sigh of a sleeping baby, some in numbers, some in others’ bodies, others in their bodies, most in art.
When the costume fits the character perfectly, the light underlines the mood perfectly, when the harmonies fill your whole being with emotions, and oh lets to talk about technique and the capability of human bodies. The choreography, the synchronicity, the perfect timing. Goosebumps.
And well, being on stage – a whole other story. Being a part of that vehicle not knowing if it’s going to crash or fly. Looking for the character in yourself to be able to lose yourself and dissolve in the character. Still being in control. You get to do things and say things you would never say or do. Sometimes that’s a special, sweet kind of freedom. And sometimes it’s where you meet your limits. In the process you get to know your limits very quickly. You try, you fight, you despair, you try again, you fail again, but you grow. And you get there, slowly. And you see the whole puzzle coming together, still not knowing if it’s going to crash or fly. But it flies, every time. It has to.
As much as I love being a part of a big audience or a big cast, small spaces – where the auditorium and the stage almost seem to merge, alway hold so much magic. Thats why I love Kabarett so much – the whole cast and crew compressed in one person you are sitting an arm length away from. I imagine it being spooky to be the on stage in this case though 🙂
If you ask me for my favorite play, it’s hard to even pick a genre. Some people, big names, God was really generous gifting and whose work I really admire are Stephen Sondheim, my all-time favorite composer and writer, bringing depth and complexity in musical theaters’ scores and stories, Pina Bausch and Alvin Ailey for their impact on dance theater, Christine Prayon in her solo shows. But there is actually one play, I can’t remember the name of the play itself, or director, or actors, not even the story, but I do remember the feeling of being left completely impressed and in awe by the performance of the two actors playing all sixteen-or-so parts. The two of them painting the whole setting with nothing on stage but their bodies, voices, two chairs and a cap. That really was perfection to me.
Comedian, Musician, Photographer (+ All-Round Creative)
Academy Fellow 2021