Nataša Kopeč
Country: Croatia
Dubravka Vrgoč
Biography
Nataša Kopeč (b. 1989) is a Croatian theatre, film, and television actress, director, writer, and professor at the Academy of Dramatic Art in Zagreb. Co-founder of the artistic organization Drugi Revolver, she is known for her authorial approach and engagement with contemporary theatre. She has collaborated with leading regional directors such as Sebastijan Horvat, Bojan Đorđev, Dora Ruždjak, Saša Božić, Anica Tomić, performing in notable productions including The Maids, Glorija, Cement, and The Master and Margarita. In 2025, she wrote, directed, and starred in Three Sisters FAKE, produced by Drugi Revolver. Her film credits include Where Is Nataša (2024), The Celebration (2024), and Seventh Heaven (2023). She received the Orlando Award (2018) for her role as Oliva in Under the Balconies and multiple Croatian Theatre Award nominations. Active in children’s and youth theatre, she has won the Mali Marulić and ASSITEJ awards. She is a member of the Croatian Association of Drama Artists (HDDU).
Portfolio & Latest Theatre Performances :
https://www.youtube.com/watch?v=LWb_qDHX4ks
https://www.youtube.com/watch?v=LSez5ZbHx1I
https://www.youtube.com/watch?v=W7pZf5CccdI
https://www.ink.hr/repertoire/o-zivotu-radnice-krajem-dvadesetog-stoljeca/
https://www.youtube.com/watch?v=XGFxiRNUJMo
Three Sisters Fake
Concept of the Performance:
The project draws inspiration from Anton Chekhov’s Three Sisters, reimagining the Prozorov family as modern characters living on the 21st floor of a decaying high-rise. Though surrounded by the conveniences of contemporary life, they remain trapped in a timeless, disoriented state, haunted by unfulfilled desires and routine. Their world, shaped by absurdity and irony, is plastic and unstable—both a refuge and a mirror of their confusion. Moving between character and performer, they expose their eccentricity without acknowledging it, inviting the audience to observe rather than join. The performance balances a coherent narrative with postdramatic elements that disrupt traditional storytelling. Humor and the grotesque intertwine, mocking yet mourning humanity’s struggle to escape existential paralysis. Ultimately, the play emerges as a bittersweet comedy that, while confronting the futility of searching for meaning, still celebrates life’s absurd beauty and unpredictable unpredictability.
Artistic Statement
In my work, I find my starting point in the space of digression — directorial, dramaturgical, and performative. In the interruption of thought and action, I encounter a point of frustration or inspiration, from which I move toward something new and unknown. In this way, I avoid the predictability of my own judgment and preconceptions, allowing the unfinished process or thought to lead me and the audience towards surprise. Through this, I explore the boundary between control and loss of control, between conscious and intuitive action. Theatre becomes a space where these tensions meet — a place where a mistake can turn into truth, and coincidence into structure. I am interested in moments when meaning collapses and is reborn. I do not seek completeness, but aliveness: a movement that arises in the moment — vulnerable, yet honest. In digression I find a certain liminal space between dreams and reality.
Trailer
