Dusan is a supporting character in the upcoming play Catapult Design, set to launch later this month with habitus. In this interview we delve deeper into the rigorous performer encased in a wonderfully crafted shell.
When you first meet Dusan there is no denying an immediate sense of what one might term structural integrity, for want of a better phrase. You shake his hand and you feel his presence, his solidity, his honesty. But there is also a softness to the touch that is almost impossible to describe, and a moment of closer inspection quickly shows up the delicacy of his crafting. And of course you can’t look past the intricacy of his build, especially when witnessing him at work on stage.
It should be noted that these same qualities seem to exist across his extended family — you will of course know the music of Ryba, and those local to Sydney must by now have heard of the amazing culinary skills from the up-and-coming Silny. I ask him about this and he mulls it with exactly the gentle consideration you would expect from someone with his perfect complexion and strong, exquisitely formed exterior.
‘I should think it relates to along-standing family tradition,’ he says, referring to the roots of Victorian history stretching back well over a century. ‘With such a past, carrying on proudly but with a deft touch was drilled into us from a young age. I believe our families have honed us into personalities that might be considered successful primarily because we have never attempted anything without full commitment.’
And in this role, a three act Lynchian take on modernism and knowledge, that commitment commands attention throughout both acts Dusan spends on stage, despite his relatively few lines and apparent supporting billing. Your eyes are drawn and it seems that every breath taken by you, in the audience, somehow changes your perspective enough to see totally new lines, a completely new angle on Dusan and his character.
‘No one is flat, no character, no matter how few lines they might have or how little time to explore that on stage,’ he says, almost as though the mere mention of the opposite is such a ridiculous concept that it would be offensive to respond to were it not so patently naïve. ‘The least I can do when entrusted to perform someone else’s words during someone else’s time, especially when their hard-earned dollars are permitting them the opportunity, is to provide them something rounded and nuanced. I know my full character story, even if it isn’t explored on stage. And if I know it, then you can know it too, in the way I hold myself or the way I cry for help. So of course a subtle shift in your seating will change what you see. It’s in the very fibre of my being.’
And it is a divine being to behold close up, as compelling as on stage. With a powerful performance to match, we can only wait for the next one, assured that, regardless its size, it will satisfy just as well.
Read more in this series of interviews:
Drool Worthy Dollop
Obelisk, the Alternative Rock
Lotus Seed Pod, Flirty yet Crisp
The Leggy, but Stern, Hunter
Acrobatic Me Too, the Temptress
The Little Bit Coltish Sticks and Stones