Prepis članka
Rok Sanda, pisatelj, scenarist in režiser, dobitnik zlatega znaka JSKD za dosežke v ljubiteljski kulturi.
Na začetku kariere je človek malo nadut
Rok Sanda je ime, ki se je od leta 2014, ko je ustvaril kratki film Gastarbeiter in režiral istoimensko
gledališko predstavo v produkciji društva Little Rooster Productions, usidralo v spominu poznavalcev ljubiteljskega gledališča. Je avtor scenarijev za več gledaliških predstav oziroma filmov, ki jih je vse tudi režiral, prav tako pa piše kratke zgodbe.
Že kot srednješolec se je ukvarjal z ljubiteljsko kulturo, pri 27 letih pa se je odpravil študirat angleško književnost in kreativno pisanje na University of East Anglia, saj je želel pisati, podobnega študija pa pri nas ni bilo. Po treh letih v Angliji se je vrnil v Slovenijo, kjer z ljubiteljskimi igralci in drugimi kulturniki ustvarja kratke filme in gledališke predstave, od
katerih sta dve prejeli nagrado matiček na Linhartovem srečanju, ki velja za najpomembnejši festival ljubiteljskega gledališča pri nas. Letos je prejel zlati znak, eno od najvišjih priznanj na področju ljubiteljske kulture, ki ga podeljuje Javni sklad RS za kulturne dejavnosti, ob bok uveljavljenim profesionalnim pisateljem pa ga prav gotovo postavlja nominacija dramskega besedila Ikarus za Grumovo nagrado leta 2017.
Story: Ste šolani pisatelj, kako gre to skupaj s predstavo o rojenem umetniku, ki piše po navdihu?
Res je, ko začenjaš pisati, misliš, da je to povsem inspirativna zadeva. Predstavljaš si, da v nekem trenutku z neba prileti mistična muza, ki te spodbudi, da nekaj napišeš. In to kar takoj končno verzijo. To je seveda daleč od resnice. Potrebna je dnevna rutina, ki se zdi sicer grozna stvar, a le vsakodnevno pisanje, razmišljanje in branje omogočajo, da bo morda deset odstotkov napisanega
uporabnega. Narediti je treba več verzij, že Hemingway je dejal, da je prvi osnutek česarkoli popolno sranje.
Story: Obrtniško znanje, če lahko tako rečemo, pa na drugi strani najbrž omogoča večji ustvarjalni razpon?
Dobro izurjen pisec lahko naredi marsikaj. Sam sem denimo scenarij za gledališko igro Poštna prevara napisal po naročilu za KUD Vesel teater. Navdih sem dobil doma, saj sta bila moja starša poštarja in tudi sam sem nekoč delal na pošti. Ker me privlačijo kriminalne zgodbe, je nastala zgodba o bandi, ki se odloči za poštni rop, vendar se ji pri tem vse sfiži. Kot zanimivost naj povem, da je zgodba napisana na kožo ekipe, saj sem like snoval na podlagi igralske zasedbe.
Story: Domov ste se vrnili leta 2015 in od takrat prejeli že nekaj pomembnih nagrad za svoje delo, med drugim matička na Linhartovem srečanju ljubiteljskih gledališč in nominacijo za Grumovo nagrado na Tednu slovenske drame leta 2017. Je uspeh prišel hitro?
Ne povsem. Na Linhartovo srečanje smo se prvič prijavili s predstavo Gastarbeiter leta 2015. Na začetku kariere je človek malo nadut in misli, kako je dober. Pa me je selektorica hitro postavila na realna tla, predstava se na srečanje ni uvrstila, sem se pa zato v naslednji scenarij, ki sem ga pisal,
malo bolj poglobil. Predstava Ikarus je bila v krogih ljubiteljskega gledališča popolno presenečenje, prejela je matička za najboljšo predstavo na Linhartovem srečanju, dramsko besedilo pa nominacijo za Grumovo nagrado.
Story: V lkarusu obravnavate prvo svetovno vojno, v Feniksu, ki ji sledi, pa drugo. Kaj je
človeka vaše starosti pritegnilo, da se poglobi v časovno tako oddaljene zgodbe?
Teh tem sem se lotil preprosto zato, ker nisem razumel konflikta
med sprtimi stranmi, med belimi in rdečimi, in tega, da še danes ne more priti do sprave. Kot
predstavnik milenijske generacije sem vedel o tem malo ali nič, o tem nas niso učili ne v šoli ne
drugje.
Story: In potem preskok na povsem sodobno tematiko v kratkem filmu Dora, ki skozi zgodbo
študentke Katje govori o homoseksualnosti in (ne)sprejemanju drugačnosti.
Pravzaprav gre za podobno temo, vsi ti trije scenariji govorijo o notranjih konfliktih med osebami, ki se med seboj ne razumejo. O neskladjih med resnicami, ki jo različni ljudje čutijo vsak po svoje. Osnovni vzrok za nesporazum je to, da se ne poslušamo, saj nas nihče ne nauči, kako komunicirati, tako je bilo nekoč in je še danes.
Story: Lahko primerjate razmere na svojem področju delovanja doma in v Angliji?
Tu sem se sicer lotil študija, a me ni pritegnilo, tako da ni šlo dlje kot en semester. Tako da težko ocenjujem, lahko pa povem, da sem imel v Angliji skoraj neomejen čas za študij in ustvarjanje. Študijski proces namreč poteka tako, da sem dobesedno od jutra do večera pisal. Ko sem prišel domov, pa se je začel boj za čas, v katerem lahko ustvarjam. Za preživetje je namreč treba delati marsikaj, ne le to, kar si želiš.
Story: Mislite, da se boste nekoč lahko preživljali le s pisanjem?
Pravzaprav že lahko rečem, da od pisanja in od režije živim, za zdaj sicer bolj mizerno, a vendarle.
Story: Pišete predvsem scenarije in kratke zgodbe. A najbrž je želja vsakega pisca roman?
Seveda, in tudi poskusil sem že. Ikarus je namreč projekt, ki sem ga zasnoval kot roman, pisati pa sem ga začel že v Angliji. Po sto napisanih straneh pa sem ugotovil, da je tekst slab, da še nisem dovolj močan za takšno delo. Tako sem napisal dramsko besedilo, roman pa še leži v predalu in čaka. Najbrž bo še čakal, trenutno pišem kratke zgodbe.
– Lena Kreutz
Translation into English
Rok Sanda, a writer, screenwriter, and director, recipient of the Golden Emblem of the Public Fund for Cultural Activities of the Republic of Slovenia (JSKD) for achievements in amateur culture.
At the beginning of a career, one can be a bit cocky
Rok Sanda is a name that has been etched into the memory of amateur theater enthusiasts since 2014 when he created the short film “Gastarbeiter” and directed the eponymous theater production produced by the Little Rooster Productions association. He is the author of scripts for several theater plays and films, all of which he also directed. Additionally, he writes short stories.
Even as a high school student, he was involved in amateur culture. At the age of 27, he went to study English literature and creative writing at the University of East Anglia in England, as there was no similar program available in Slovenia. After three years in England, he returned to Slovenia, where he collaborates with amateur actors and other cultural practitioners to create short films and theater productions. Two of these works received the “matiček” award at the Linhart Meeting, the most important festival of amateur theater in Slovenia. This year, he was honored with the Golden Badge, one of the highest recognitions in the field of amateur culture, awarded by the Public Fund for Cultural Activities of the Republic of Slovenia. His nomination for the Grum Award in 2017 for the play “Ikarus” certainly places him alongside established professional writers.
Story: You are an educated writer. How does that fit with the idea of an artist who writes purely from inspiration?
Indeed, when you start writing, you might believe it’s a purely inspirational process. You imagine that at some point, a mystical muse descends from the heavens, urging you to write something—a finished version, right away. However, that’s far from the truth. What’s necessary is a daily routine, which may seem daunting, but consistent writing, thinking, and reading allow perhaps ten percent of what’s written to be useful. Multiple drafts are essential; as Hemingway famously said, the first draft of anything is “perfectly shitty.”
Story: On the other hand, craftsmanship, so to speak, likely enables a broader creative range?
A well-trained writer can accomplish many things. For instance, I wrote the script for the theater play “Poštna prevara” (Postal Fraud) commissioned by the KUD Vesel Theater. I found inspiration at home, as both my parents were postal workers, and I myself once worked at the post office. Since I’m drawn to crime stories, I created a tale about a gang planning a postal heist, which ultimately goes awry. Interestingly, the characters were shaped based on the acting ensemble.
Story: You returned home in 2015 and have since received several significant awards for your work, including the “matiček” award at the Linhart Meeting of amateur theaters and a nomination for the Grum Award at the Week of Slovenian Drama in 2017. Did success come quickly?
Not entirely. We first submitted our play “Gastarbeiter” to the Linhart Meeting in 2015. At the beginning of a career, one can be a bit cocky. However, the selector quickly grounded me in reality—the play didn’t make it to the meeting. But that experience led me to delve deeper into the next script I was writing. “Ikarus,” surprisingly, became a standout in amateur theater circles, receiving the “matiček” award for the best play at the Linhart Meeting, and the play’s text was nominated for the Grum Award.
Story: In “Ikarus,” you explore World War I, and in “Feniks,” which follows, World War II. What drew someone of your age to immerse themselves in such distant historical stories?
I approached these themes simply because I didn’t understand the conflict between opposing sides—the Whites and the Reds—and the ongoing struggle for reconciliation. As a representative of the millennial generation, I knew little or nothing about this; it wasn’t taught in school or elsewhere.
Story: Then there’s a leap to a completely contemporary topic in the short film “Dora,” which tells the story of student Katja and addresses homosexuality and (non)acceptance of differences.
Indeed, all three of these scenarios touch on similar themes: internal conflicts among individuals who don’t understand each other. The discrepancies in truths that different people feel individually. The fundamental cause of misunderstanding lies in our failure to listen—no one teaches us how to communicate effectively, both in the past and today.
Story: Can you compare the conditions in your field of work at home and in England?
While I did start studying here, it didn’t really captivate me, so it didn’t go beyond one semester. However, I can tell you that in England, I had almost unlimited time for studying and creating. The study process there literally involved writing from morning until evening. When I came home, the struggle for time to create began. Survival requires doing many things, not just what you desire.
Story: Do you think you’ll eventually be able to make a living solely from writing?
Actually, I can already say that I make a living from writing and directing, albeit modestly for now.
Story: You mainly write screenplays and short stories. But isn’t every writer’s dream to write a novel?
Certainly, and I’ve tried it as well. “Ikarus” was initially conceived as a novel, and I started writing it in England. After a hundred pages, though, I realized the text was weak, and I wasn’t yet strong enough for such work. So, I turned it into a play, and the novel remains in a drawer, waiting. It will probably keep waiting; currently, I’m focused on writing short stories.
– Lena Kreutz