To Embrace Vulnerability As One Of My Greatest Strengths (Stronger, Braver, Vulnerable)

An Interview with wonderful talented actresses Jovana Miladinova, Skopje, R.N. Macedonia. Interviewer Ivanka Apostolova Baskar

Jovana Mialdinova is born in Skopje. She is third year student at the Faculty of Dramatic Arts at Prima University Skopje. She is professional actress (for now) with a modest theatrography but with huge gift: Iphigenia for Nothing, The Addams Family, Edward II. For her remarkable role of Isabella of Valois in Edward II she was awarded: Award for High Artistic Achievement Stage at the Crossroads Festival – Plovdiv, 2023, Best Young Actress MTF “Vojdan Chernodrinski” – Prilep, 2024, Rejhan Demirdžić Award MESS Festival – Sarajevo, 2024 (For best young actress in Edward II), Grand Prix for Best Leading Female Role 20th International Festival of Actors – Nikšić, Montenegro, 2024.

Ivanka Apostolova Baskar: Jovana, you are a very young actress, fresh face – a fresh breath of air on our theatre stage(s); but very, very talented, and you are still studying, yet the European renowned Ukrainian director Andriy Zholdak recognized you and hired you for the role of Isabella De Valois in Edward II, a theatre production of the N.U. Theater J.H. Djinot – Veles (2023/2024)? According to which criteria did he recognize/select you, and how did you feel?

Jovana Miladinova: I believe director Andriy Zholdak recognized something genuine in my artistic approach – a combination of dedication, emotional openness, and readiness to completely immerse myself in a role. Even though I am still a student, I always approach my work with the same seriousness and passion as I would any professional engagement. During the audition, I focused on being authentic and truthful in every moment, without trying to “impress,” but rather to live at the moment and connect deeply with the character. When I found out I was selected for the role of Isabella De Valois in Edward II, I felt deeply honored and grateful. Working with a visionary like Zholdak was both a challenge and a privilege. It pushed me to grow beyond my comfort zone, and it confirmed that talent, when combined with hard work and courage, can be recognized at any stage of one’s career – even while still studying.

Photo credit by Jovana Miladinova.

IAB: What is it like to collaborate and work on an artistic project directed by Zholdak, what did he manage to provoke, awaken, open, and activate in you as an emerging, young actress?

JM: I must admit that working with the brilliant director Andriy Zholdak was an intense and transformative experience. His approach to directing goes far beyond traditional methods – he pushes you to break your own boundaries, to strip away every layer of fear or hesitation, and to discover an inner truth you didn’t even know existed. As a young actress, this process awakened in me a new level of emotional courage and creative freedom. He encouraged me to trust my instincts completely, to live every moment on stage as if it were real life, and to embrace vulnerability as one of my greatest strengths. It wasn’t always easy – it required discipline, patience, and the willingness to face myself honestly – but it left me stronger, braver, and more deeply connected to my craft than ever before.

IAB: What are the similarities and what are the differences between you as a girl, an actress, a personality-character, and the character of Isabella De Valois?

JM: As a 22-year-old young woman, I like to be spontaneous and open, enjoying the unpredictability of life. Professionally, however, as an actress, I approach every role with full dedication and focus – sometimes even being too strict with myself. This contrast between who I am in life and who I am in my craft shaped the way I connected with Isabella De Valois. We share grace, dignity, and a deep emotional core, as well as a belief in love and loyalty. I could relate to her longing for connection and her inner strength in the face of adversity. However, the greatest difference between us is that, in the end, Isabella had to be a mother – and not just to a child, but to a grown son. That is an emotion and responsibility I have never personally experienced. Stepping into that part of her life required me to imagine a love and a pain I could only access through empathy, observation, and my artistic instincts. In that challenge, I discovered new layers of vulnerability and maturity within myself.

Photo credit by Stefan Rajhl.

IAB: In Edward II, the actors do not rest; please explain your experience of the dramaturgy of the specific exhausting rhythm and movement imposed by the directorial mise-en-scène?

JM: Especially for my character, who is on stage for two and a half hours without pause, it was initially very challenging to find the right balance. With the support and energy of my colleagues, it gradually became a way of life. The mise-en-scène had to be executed with flawless precision, exactly as the director envisioned, but over time it became part of you. Edward II demanded constant presence and physical commitment from every actor. The exhausting rhythm and continuous movement pushed us to inhabit the stage fully at all times. At first, it was very challenging, both physically and mentally, but it taught me to connect deeply with my body, breath, and emotions. Every gesture, step, and look became part of the character’s story. High physical fitness was essential, but after each rehearsal it became easier. In the end, I discovered that endurance, focus, and total presence can unlock a new level of expressiveness on stage.

IAB: Zholdak is known for his Manifesto about the actor in which he explicitly states that he hates actors – that actors irritate and provoke him because of their talent(s), and specific nature of complete or reserved dedication – hence his directorial ‘sadism’ to provoke and challenge you with his particular intense ideas-lucid visions- “revenges?” Share a personal experience of a crisis and coping with – about your acting demystification of his provocation and demand?

JM: Since Edward II was my first professional project with a director, I didn’t have a clear reference for how the process “should” look, so I simply adapted to whatever was happening in the rehearsal room. Working with Zholdak meant embracing a directorial approach that is both provocative and demanding. From the very first day, Andriy physically drew a line on the floor and told us: outside this line we are all equal and friends, but inside it, there is no ego, no fear, and no saying “no.” For me, that created a space of total artistic trust. I must admit that Andriy and I really understood each other, often without words. I trusted Andriy 100 percent, even in moments when I questioned whether I could do something, because I knew he believed in me completely. That trust allowed me to step into challenges without hesitation. Of course, in two months of intense work, misunderstandings happened. But I learned never to give up on what I believe is right for my performance. We always resolved conflicts through open conversation. In the end, those challenges didn’t break the process – they deepened it. For me, his provocations were not an attack but a push to go further than I thought I could, and that has fundamentally shaped how I now approach my craft.

Edward II, directed by Andriy Zholdak. Photo credit by Festival MESS Velija Hasanbegović.

IAB: For your role as Isabella De Valois, you won the prestigious regional award for best young actress at the cult Festival MESS in Sarajevo (2025) – what does this mean for such a young actress and what positive changes has this award brought and enabled for you?

JM: Winning the Best Young Actress award at the prestigious MESS Festival in Sarajevo for my role as Isabella De Valois was both an honor and a turning point. For such a young actress, it’s not just recognition – it’s a strong affirmation that the work, dedication, and risks I take on stage matter. The award gave me visibility in a much wider artistic circle, opening conversations and potential collaborations I wouldn’t have had otherwise. On a personal level, it strengthened my confidence. I realized that even in such an early stage of my career, I can stand alongside experienced actors and bring something unique. It also motivated me to keep exploring, keep pushing boundaries, and never settle for “good enough.” But with awards also comes a certain responsibility – to remain consistent, to keep evolving, and to always honor the trust that such recognition represents.

IAB:  What is the acting ensemble of the National Theater in Veles like in collaboration with such an ambitious project as Edward II, a project that pushes the boundaries of Macedonian theatrical art and routine?

JM: The acting ensemble of the National Theater in Veles is deeply committed, adaptable, and artistically brave. Edward II was not just another production – it was a project that challenged every theatrical routine we were used to. Working together on such an ambitious piece demanded complete trust, mutual support, and the willingness to step far outside our comfort zones. What I value most is the collective spirit – everyone, from the most experienced actors to the youngest members, embraced the director’s bold vision and worked tirelessly to make it a reality. We became more than colleagues; we became a creative unit that breathed as one on stage. That kind of collaboration not only elevates the performance but also leaves a lasting mark on each of us as artists.

Photo credit by International Festival for the Actor Niksic.

IAB: What are the changes in projects, after the MESS award, that the theater people from the former Yugoslav region offered you and what did the Macedonian theater workers and artists offer you?

JM: While the MESS award gave me the chance to meet inspiring colleagues and build valuable connections across the regional theater scene, it has not necessarily resulted in immediate offers of new projects. Since Edward II, I have performed in two productions at the Drama Theatre Skopje. However, as I am still a student and not formally employed by any theater, certain opportunities can be more difficult to access, both logistically and financially. Even so, the recognition from the award has strengthened my artistic profile, and I am optimistic that it will contribute to future collaborations. I am also genuinely excited to work on new projects—whether they are as large and ambitious as Edward II or on a smaller scale—because every role is an opportunity to grow and discover something new as an actress.

IAB: What are you currently working on and what projects are expected of you by the end of 2025 and in year 2026?

JM: Currently, I am focused on my studies and preparing for an exciting opportunity: I will be spending my seventh semester studying in Sofia at the New Bulgarian University. This year, I am fully dedicated to preparing for that experience, learning and developing my skills in anticipation of the program. Looking ahead to the end of 2025 and 2026, I remain open to new theater and film projects, both in Macedonia and abroad. I am genuinely excited to work on any projects that come my way.

Edward II, directed by Andriy Zholdak. Photo credit by Festival MESS Velija Hasanbegović.

IAB: What does being an actress represent to you as a young person, the need to act and create different characters, why did you choose acting and what do you project for your future career?

JM: Being an actress, for me, represents a constant journey of discovery—both of myself and of the world around me. I chose acting, but in many ways, it also chose me. I believe that within each of us there are multiple worlds and interests, and through different characters, these worlds find recognition. Being on stage allows me to forget everything happening outside and exist fully in the moment of the performance. As a young person, the need to act and embody different characters is a way to explore emotions, perspectives, and experiences I might never encounter otherwise. For me, being an actress also means confronting the reality in which we live, reflecting it, and sharing it with others. I want to take on challenges that push my boundaries and deepen my understanding of human nature. Ultimately, my goal is to continue growing as an artist while contributing meaningfully to the theater and film community, bringing stories to life that resonate and inspire.

IAB: Thank you very much, dear Jovana.

Skopje, 2025