Eho animato is a collective devoted to research in performing arts and multimedia practices, founded in Belgrade in 2011.
Eho animato’s mission is a multifaceted exploration of individual social positions.
In their creative work, Eho animato aim to provoke as many perspectives as possible through collaborative processes, supporting each artistic voice to be heard and developed.
They employ multimedia and interdisciplinary approaches as a way to enrich the language in which they tackle the topics they explore.
Eho animato believe in the value of cultural exchange in a creative process and establishing strong connections with international partners.
Ana Konstantinović (1987) is a theater director, founder and curator of Eho Animato. She holds a degree in theater and radio directing from the Faculty of Dramatic Arts in Belgrade, where she is currently finishing artistic doctoral studies.
She worked in the Student’s City Cultural Center as a coordinator of several festivals. She was also coordinator of the International Federation for Theater Research World Congress in Belgrade in 2018. Currently, she is working as an associate of the National Theater in Belgrade, where she is the program editor of Platform, a platform for audience development and education of performing arts professionals.
She participated in numerous workshops and international projects like Terre Promesse / BussoleRotte (Milan, Italy), Europe Unlimited (Hannover, Germany), Augenblick mal! (Berlin, Germany). She has directed theater performances, radio plays, public readings and performances, such as In a Glass Ball (Cultural Center Pavilion, Hannover), The Tempest (Regional Theater Novi Pazar), The One and the Other (Faculty of Dramatic Arts, Belgrade), Along the City Skies (Youth Center of Belgrade), I Bei Tempi and Home (Academy Paolo Grassi, Milan, Italy).
She stands for process theater, community inclusion and constant exploration of form and content.
Željko Maksimović (1985) is an actor, translator and TV presenter from Belgrade, Serbia. He has been a member of Eho Animato since its establishment in 2011.
In 2018, he was the coordinator of the International Federation for Theatre Research World Congress in Belgrade, an event that gathered over 900 international scholars.
Besides performing in Belgrade’s institutionalized theatres (Atelje 212, Yugoslav Drama Theater, Belgrade Drama Theater, Theater Vuk, Dadov), he has also worked independently in performances such as Borderless Lines – awarded Best Actor at the 2008 FIST festival in Belgrade, Fragments of Disquiet, Borderline Beauty – performed in Drugstore techno club, Best Intentions and The Glass Menagerie.
Since 2014, he has occasionally worked in Prague, Czech Republic, with the award-winning directorial duo SKUTR on performances The Tempest, a Divadelnínoviny Award for Best Alternative Performance nominee, A Midsummer’s Night Dream at the Summer Shakespeare Festival and with choreographer Adela Stodolova on Heiner Miller’s Description of a Picture. Since 2019, he has been working with artist Ivana Ivković, participating in her performances (Un)protected Witness and In Him We Trust.
Željko has appeared in several TV shows in Serbia, and has been a host of Cultural Centre, a central Radio-television of Serbia’s weekly cultural program.
He has also translated essays on theatre theory and plays by Dino Pešut, Filip Grujić and Tanja Šljivar, the latter in collaboration with a New York based artist Cory Tamler, published in the US by Asymptote Journal, The Mercurian and The Offing.
Marija Kovačina is a multimedia tech engineer oriented towards audio and video postproduction. Her main interests and fields of activity are film and video editing and sound design for film, but she is also engaged in VJing, music production and multimedia artist in theater. She has been a member of AES since 2012, and was a Berlinale Talents Alumni in 2017. She is currently working with Panorama Films Collective.
Her filmography includes documentaries, art and short experimental films, many of which were screened and awarded at international festivals. Film selection: Everybody’s granddaughter (Serbia, 2021), Serbian Medieval Heroes (Serbia, 2020), Havana Dreams (Serbia, 2020), dogs, moon river and Baudelaire (Serbia, 2019), Then Comes the Evening (Serbia, 2019, dir. by Maja Novaković), Ficus (Bosnia and Herzegovina, 2018, Sarajevo City of Film project), Big Leap (Bosnia and Herzegovina, 2018, Sarajevo City of Film project), A Steady Job (Serbia, 2018, dir. Igor Toholj), Vukica Djilas – Home Movies (Serbia, 2015, dir. Slobodan Šijan).
Tamara Baračkov (1988) graduated Dramaturgy at the Faculty of Dramatic Arts in Belgrade. Since 2012, she has been working as a TV editor, dramaturge and screenwriter within the Culture and Art program of the Radio – television of Serbia.
She authored plays Fifty Strikes (Atelje 212, dir. Ana Grigorović) and Cell (National Theater Niš, dir. Aleksandra Pavlović), as well as dramatizations of Max Frish’s novel Homo Faber (Atelje 212, dir. Ana Tomović), Ingmar Bergman’s Private Confessions (Macedonian National Theater, dir. Nina Nikolić) and Best Intentions (public reading, Cultural Center Grad, dir. Ana Konstantinović). She was a dramaturge of Fragments of Disquiet (Eho Animato, dir. Ana Konstantinović), Othello (William Shakespeare, Macedonian National Theater/ Bosnian National Theatre Zenica, dir. Nina Nikolić), Rosmersholm (Henrik Ibsen, Belgrade Drama Theater, dir. Ana Konstantinović).
For Radio Belgrade, she wrote radio-dramas Copy – Paste and Amethyst, as well as radio-dramatizations of Jasminka Petrović’s novel The Summer When I Learned How to Fly and Yevgeny Zamyatin’s short story WOMB.
As a screenwriter assistant, she worked on several awarded shorts (Red Snow, Baits and Hooks, Of Ashes – a segment from October omnibus).