{"id":31408,"date":"2026-04-10T13:32:25","date_gmt":"2026-04-10T11:32:25","guid":{"rendered":"https:\/\/janjaprokic.com\/?p=31408"},"modified":"2026-04-10T15:32:27","modified_gmt":"2026-04-10T13:32:27","slug":"marek-cpin-a-set-designer-in-his-own-interior","status":"publish","type":"post","link":"https:\/\/janjaprokic.com\/en\/marek-cpin-a-set-designer-in-his-own-interior\/","title":{"rendered":"Marek Cpin: A Set Designer in His Own Interior"},"content":{"rendered":"

For the production \u2018\u010casokryt\u2019 at the Theatre Na Z\u00e1bradl\u00ed, he created a scenic labyrinth working with the theme of nostalgia. Alongside a room stylized in the spirit of the 1960s, another scene transforms into minimalist contemporaneity. In the play \u2018My Struggle: The Man in Love\u2019 at the same theatre, he kept the set restrained\u2014yet all the more effective\u2014so that it could function as a projection surface for the actors\u2019 monologues. Set and costume designer Marek Cpin expresses his rich imagination not only on stage. Through his visual dramaturgy, he tells stories, captivates audiences, and finds the key that touches the heart\u2014whether you\u2019re going to see a classical play, strolling through the center of Vienna and stopping at a Herm\u00e8s shop window, or visiting the exhibition \u2018Institute of Intimacy\u2019, which explores the theme of care.<\/strong><\/p>\n

At the end of March, he premiered a production at Prague\u2019s Dejvice Theatre, where \u2018The Maids\u2019 is being staged under the direction of Irish director Wayne Jordan. A few weeks later, another premiere will follow: \u2018Bo\u0159iny Beyond the River\u2019 at the Moravian Theatre Olomouc. Director Miroslav Krobot drew inspiration for \u2018Bo\u0159iny\u2019 from the life of the legendary Moravian traveler Jan Eskymo Welzl, and Marek is responsible for both costumes and set design.<\/p>\n

These two premieres are also his last of the current season. Although he will then focus mainly on finishing projects for the next theatre season, shop window displays, and film preparations, it seems that May and June might surprisingly offer him a calmer pace. \u201cI\u2019m curious what it will do to me. Hopefully after this intense period, I\u2019ll figure myself out,\u201d he laughs.<\/p>\n

\"\"<\/p>\n

You\u2019re going through a very intense period\u2014one premiere after another, alongside exhibitions, scenography, and brand presentations. How do you manage it all?<\/strong>
\nSometimes I wonder myself\u2026 The truth is, I have to stay very concentrated and focused on each project and not get distracted by anything else. Even though I often work on several projects at once, I try to stay organized and avoid chaos. In theatre work, the advantage is that everything is planned and follows a precise schedule. I know exactly where I need to be and when, and things rarely change drastically. Uncertainty is my biggest fear\u2014because that\u2019s when everything can collapse and the whole structure falls apart. In my mind, I focus on just one thing at a time. And once it\u2019s finished, my brain relaxes and opens up to new ideas.<\/p>\n

How do you avoid burnout?<\/strong>
\nI enjoy it so much that I don\u2019t perceive it as work, but as fun. My work is my hobby and my passion. And I don\u2019t really do anything else. Since I don\u2019t have a traditional family or children, I can devote much more time to my work\u2014time that others might spend raising kids. During the day I usually handle organizational matters, meetings, rehearsals, visiting workshops, and in the evening, when it\u2019s quiet and the phone stops ringing, I focus on designing.<\/p>\n

Which phases are the most stressful for you? Is it the beginning, when you\u2019re facing blank pages?<\/strong>
\nThat\u2019s when it could happen that I procrastinate or do unnecessary things out of fear that no ideas will come. But as soon as I sit down, my brain starts working. The most important thing is to get rid of fear. If you tell yourself you can do it, you simply will. Doubts take away fifty percent of your energy.<\/p>\n

How do you get rid of fear?<\/strong>
\nIn general, I don\u2019t know, but for me it came as a combination of different factors. I\u2019m at a stage where I\u2019ve crossed into the second half of my life. I have experience, I\u2019ve mastered my craft, and I\u2019m not completely rigid yet. It\u2019s my \u201cpeak,\u201d where strength\u2014still not declining\u2014meets experience. That makes many things easier. Something unlocked inside me, and I no longer hold myself back.<\/p>\n

\"\"<\/p>\n

Have you ever gone through a period when things didn\u2019t work?<\/strong>
\nI went through a crisis before COVID. It was something like burnout. The pause during the pandemic and the realization that not everything has to go as smoothly as it once did changed my way of thinking about the world. I discovered humility and gratitude. Until then, I hadn\u2019t dealt with existential questions\u2014that came during the pandemic. It pushed me forward: not taking things so seriously, because everything can change, but also making the most of what I can while I still can.<\/p>\n

Does that mean you rarely say no?<\/strong>
\nNot exactly\u2014it always depends on the type of project. If I were offered a period historical film, I would think very carefully about accepting it. It\u2019s extremely demanding to avoid mistakes, difficult to source things properly, and usually there isn\u2019t as much money as in foreign productions. At the same time, we see how those productions can look when there are no limitations. And I probably wouldn\u2019t enjoy something purely realistic either.
\nOn the contrary, I like a certain degree of stylization and the variety of projects\u2014from experimental and alternative to pop-cultural, commercial, and classical. I consider that a great privilege.<\/p>\n

How do you refine your visual approach?<\/strong>
\nI don\u2019t have as much time as I\u2019d like\u2014otherwise I would study contemporary trends in art and theatre much more. I would travel abroad for culture more often. But any visit to a contemporary art gallery is energizing and inspiring. And I\u2019m looking forward to summer, when I\u2019ll spend two weeks in Japan. I\u2019ll enjoy it.<\/p>\n

We\u2019ll see what your trip to Japan brings\u2026<\/strong>
\nIt could easily happen that my scenography becomes paper-like, like origami, and costumes take on a kimono style. That happens to me quite often\u2014something fascinates me and I try to bring it into theatre, even in Shakespeare.<\/p>\n

\"\"<\/p>\n

Do you have any rituals during your creative process?<\/strong>
\nI calm my sensory input. I need to concentrate and I need silence. And a scented candle\u2014I love fragrances and burn them all the time.<\/p>\n

Today you\u2019re mainly a theatre set designer, but a few years ago you were a fashion director for magazines. How do you look back on that period?<\/strong>
\nIt was an intermediate stop that lasted fifteen years. I\u2019ve always loved fashion. I don\u2019t see it as something separate or a different field\u2014fashion belongs to theatre and flows into it. Beautiful aesthetic things have appealed to me all my life. Fashion editorials also create a kind of artificial world. Just like on stage, there is a play with reality. These worlds intersect. I still love fashion\u2014I enjoy dressing well and buying clothes. I\u2019m a set designer in my own interior and a costume designer in life. I enjoy playing with styles, transforming myself, and adorning myself.<\/p>\n

What is your relationship with jewelry?<\/strong>
\nI like jewelry, but I only found my way to it relatively recently. I\u2019ve never deeply understood it\u2014I go by feeling: whether I like it or not, whether it speaks to me or not. I don\u2019t own much jewelry, but the few pieces I have mean a lot to me. I like it when there\u2019s a story behind a piece\u2014whether it\u2019s the history of a global brand or a personal connection, like when I know the designer, as in the case of Janja Proki\u0107. Then I have a special relationship with it. I\u2019m unlikely to be drawn to something I don\u2019t know\u2014personal connection matters to me.<\/p>\n

What specific pieces do you wear?<\/strong>
\nI have two rings\u2014one I wear daily. And I wear a watch all the time. Occasionally I wear a pendant. I don\u2019t overdo decoration. I\u2019m at an age where I don\u2019t want to look excessive or ridiculous, even though inside I feel much younger than my official age suggests. I\u2019m not ashamed of my age and I\u2019ve come to terms with it, but I like it when someone ages with elegance and doesn\u2019t overdo it. You have to have a critical eye toward yourself.<\/p>\n

\"\"<\/p>\n

Do you relate to the symbolism in Janja\u2019s jewelry?<\/strong>
\nYes, I enjoy her emotional approach to jewelry. I also find my own personal symbolism in pieces\u2014for example, the iris is truly my favorite flower. And the moth from her \u2018Amor Fati\u2019 collection reminds me of my favorite song, \u2018No\u010dn\u00ed mot\u00fdl\u2019.
\nI like the way Janja uses materials and shapes. It\u2019s romantic but not overdone. There\u2019s soul, depth, and a sense of fairy tale in it\u2014and I strongly resonate with that.<\/p>\n

Is interior design important to you?<\/strong>
\nMore than styling. What I live in matters more to me than what I wear.<\/p>\n

How did you create your sense of home?<\/strong>
\nMy apartment contains only things I love. It\u2019s not a pre-designed, sterile space. I\u2019m very sentimental and won\u2019t get rid of something tied to an important memory just because it doesn\u2019t fit visually. I think my apartment is cozy, aesthetically coherent, and full of things I want around me.<\/p>\n

What kinds of things?<\/strong>
\nLots of vases, paintings by a former partner, a peculiar teapot from Shanghai that I bought from a street vendor, a wooden whistle shaped like a penis from Bogot\u00e1, a waving plastic cat from a shop in Letn\u00e1, a carved candlestick from my grandfather, armchairs from the New Stage, a 1970s lamp from a flea market, and Fornasetti plates. It\u2019s a colorful mix of life.<\/p>\n

 <\/p>\n

Foto: Magdalena Vojtekov\u00e1<\/p>\n","protected":false},"excerpt":{"rendered":"

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