Ivan was born in Belgrade, Yugoslavia in 1972. He graduated with Honors at the Belgrade Academy of Dramatic Arts in Belgrade in 1996 under Professor Gordana Maric.
He began his professional work as a student in “Romeo and Juliet," directed by Jagos Markovic, at Bosko Buha Theatre in 1995. As a result, he was asked to join Bosko Buha Ensemble as a Member (1996-2011). During this time, he originated over twenty roles. He joined Atelje 212, as an Ensemble member in 2011. His acting work was marked with collaborations with most talented directors in the Region and took him to Crete to perform roles at Serbian National Theatre, Yugoslav Drama Theatre, Belgrade Drama Theatre, Atelje 2012, and Theatre Terazije.
Ivan’s acting efforts brought him acclaim both from critics and the audience. Jevtovic is also one of the founders of Theatre Torpedo. He was fortunate to gain experience and work in Film and T.V. work while performing in Theatre almost daily. Jeftovic is the winner of several prestigious acting awards, such as "Best Young Actor," Festival in Uzice 1996, Emperor Konstantin Award for the Best Actor in Nis Film Festival in 2000,” Golden Turkey Award” for The Best Actor in Comedy in Jagodina, 2009.
Among his Theatre work, he directed Movement in many notable Theatre Productions in Belgrade, Serbia. Ivan is sharing his work as an Acting Teacher, he is a docent at Singidunum Academy of Arts in Belgrade, Serbia. Ivan Jevtovic is also a musician and performs often with his band, “Deca Losih Muzicara." He lives in Belgrade with his wife and daughter.
Where were you born?
Belgrade, Yugoslavia April 5th, 1972.
Where do you live /work?
I work in Belgrade, but also in the whole region in Ex-Yugoslavia, which I still feel is an area of my professional engagement.
What fuels your desire to create?
Since 1992, when I was first accepted to Drama School, I created a daily goal for self: fulfill three professional tasks every day. This principle I learned from my wonderful Father (Late Professor Vlada Jevtovic, Theatre Artist and Writer), who consistently guided me toward new professional challenges. It is often that I go from a morning rehearsal to teach an afternoon class, to an evening show to perform, and on some evenings I even have a late night rehearsal after the show is over, or a music rehearsal with my band (since I was a vocalist up till recently).
What feeds my desire to create is a constant state of discovery of new ways, which makes our profession possible. Acting to me is the most beautiful of all occupations, throughout the history of civilization. I was fortunate to act in over three thousand shows over the past decade, according to an estimate, made by a dear friend and co-worker, Kepa, at Bosko Buha Theatre.
How did your acting training at Belgrade Academy of Dramatic Arts positively influence your artistic development?
At the time of my studies at Academy of Dramatic Arts, our school was in-line with all the other institutions and theatre at the time, so our transition from school to stage felt smooth and seamless, to an extent.
The system became weak and endangered at the beginning of this century and since our country had no specific cultural policy in place in the past fifteen years, it is only to be expected that Academy of Dramatic Arts had to adjust to an influx of new private schools and a changed climate.
My hope was that in our region (which is already rich with talent, Theatre tradition, training and audiences) would develop much further in the last twenty years. I hoped for at least twenty new theatres, galleries, cinemas and other forms of cultural centers. It saddens me to not see the development I hoped for in this time and place.
On the other hand, I personally feel grateful to my city of Belgrade, and country of Serbia for all the rich artistic opportunities I was lucky to receive. I was lucky to receive support, funds, professional opportunities, and I truly did my best to fully develop every opportunity I ever received. In all, I was lucky to act in a “Fairy tale world of children’s plays” in the morning and use my evenings to participate in various other dramatic plays.
Who is your strongest creative influence?
My father Vladimir was my strongest creative influence, so I want to share a few things about his meaning to me personally and professionally. I feel fortunate that my father gave me freedom from the very beginning to make my own choices and my own mistakes; our “agreement” was such from the beginning. But, for me personally, one of the biggest discoveries was method acting elements/exercises that were introduced to us, among other elements by our professor, Gordana Maric. My experience is that those elements contribute so much in developing strong acting skills for a future actor.
Which elements of acting process inspire you the most?
I hesitate to decide on just one part of process, since I feel that acting is all one process - from discovery of the text until the final moments of the performance.
What do you love most about acting?
The best part of an acting profession is my experience living in a constant state of curiosity.
What elements of work feel hard for you? What presents a difficulty in your work?
Moments when I feel there is a misunderstanding with my director or an acting partner during the rehearsal process, or those rare moments when something like this happens on stage are things I feel heavily in my heart. There are times when an outside director is brought to do a project, and sometimes his expertise might be in another genre, which weighs heavily on ensemble.
Moments during the performance when a fellow actor overestimates the power of improvisation (going out of line of text, or vision for the play) are a challenge. Problems during a live performance can be tricky, but I am always ready for any “creative challenge” on stage in order to serve a vision for the play (created by a director and writer) and with a goal to connect with audience fully.
Do you have habits or rituals that help you in your preparation process?
I like to use select exercises that originate in Strasberg Method, which help me in the rehearsal process, as well as before performances. I like to also experiment with exercises from Tai Chi Cheun, which I learned from my mother. Martial arts and practices are an excellent tool for our work.
What motivates you as a teacher?
Teaching work is a daily reminder of how many things I hope to develop and learn both in my craft and knowledge of Theatre process. Working with students is a continuous process of inquiry, both individual and collective.
How do you reward self for a job well done?
Getting a new job is the biggest reward I can think of.
In 2016, SUPER SPACE is serving as a vehicle to facilitate Created to Create Project.
CREATED TO CREATE
INTRODUCING ONE ARTIST PER WEEK, FOR 52 WEEKS IN 2016.
Beginning, January, 1st, 2016
ACTORS, ARTISTS, THEATRE MAKERS, FILM MAKERS, DESIGNERS, TEACHING ARTISTS, STUDENTS all chosen because they spend a part each day creating. Artists will be chosen in no particular order.
Introduce artists from different parts of the world. People who use different mediums and whose practice is at a different skill level. A thing they all have in common is unique sense of style and self-expression.