TEATROSKOP Dialogues with Isidora Poledica Dancing Between Worlds

Photos: Nikola Tamindžić, Aleksandar Ramadanović

As TEATROSKOP marks 15 years, we are launching a new series of conversations with artists who have been part of the programme along the way. 

We begin with Isidora Poledica, a freelance dancer based in Belgrade, whose work moves between local and international contexts. In this interview, she reflects on collaboration, artistic growth, and what it means to build a path in dance today. 

Your work moves between local and international contexts. How have these different environments shaped the way you approach dance and collaboration?  

From my point of view, it is not only desirable but almost necessary for artists, especially dancers, to experience different environments and contexts, whether through travel or collaboration. By encountering “the other,” we learn the most about ourselves, and that process becomes essential for growth and creation. 

Working in Serbia has shaped me through a strong sense of community, sharing, and togetherness. There is persistence here, people don’t give up, and I continue to learn from the creativity, initiative, and experience of those around me. Working abroad, on the other hand, has often exposed me to different values. While I may not have always encountered the same openness, I have learned a great deal about structure, well-developed systems, professionalism, and the importance of individual work. It has also taught me how to be alone at times, and how that can be necessary to fully commit to one’s artistic process. 

You recently took part in Camping in Lyon. What stayed with you from that experience, both artistically and personally?  

Taking part in Camping in Lyon felt like an absolute dream. Being able to fully dedicate myself to what I love, 24/7, while learning from incredibly knowledgeable and inspiring artists through various workshops and programs, and connecting with dancers from all over the world, is something I wish every dancer could experience. The openness and warmth I encountered there made it easy to connect, share, and learn from one another. 

Artistically, the experience broadened my perspective, deepened my knowledge in specific areas, and encouraged me to continue developing my practice both as a performer and as a teacher. On a personal level, it strengthened my love and appreciation for dance, and for all the people who believe in its power, especially in a world marked by so much uncertainty and difficulty. I also found myself falling in love with France, and with Lyon in particular, along the way. 

What does it mean today to build a path as a freelance dancer in Serbia, and what kind of support or connections make that path possible? 

Being a dancer is one of the most beautiful things I can imagine, anywhere and in any circumstances. It is a privilege, and I feel deeply grateful to have been surrounded by wonderful people who supported me from an early age and made this path possible. 

Still, building a path as a freelance dancer in Serbia today requires something close to superpowers. With almost no institutional support, very limited opportunities, and challenging working conditions, such as lack of space for practice, creation and performing, insufficient higher education in dance, and the need to take on multiple jobs outside the field, it becomes extremely difficult to fully dedicate oneself to this profession. No matter how much effort you invest in or how inspiring the people around you are, it often isn’t enough to sustain continuous growth and creation. This is why opportunities like Camping, as well as support, visibility, and meaningful connections, are essential; they make it possible for artists like me not only to continue, but to believe in a future within this work. 

Is there a piece of music you return to when you need to reconnect with movement or reset your body?  

I’ve heard that Symphony No. 7 – II. Allegretto by Ludwig van Beethoven is believed to have a kind of healing quality. Whenever I feel down or tired, I return to it and simply listen in stillness. It often feels like I’m hearing it for the first time, something I experience with many of the classical pieces I love. 

For releasing stress and reconnecting with joy, I turn to disco. You Can Win by Bileo is one of my all-time favorites, and that’s a tough competition.