I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

I'm talking about intellectually and emotionally challenging, but at the same time it's actually not that challenging. So there's this dichotomy.

You know, my mother never thought I would do anything good in my life, and I was standing in this opera with four gold medals! If she were alive, maybe she'd think I was doing well!

We always project into the future or reflect in the past, but we are so little in the present.

From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.

I had a very difficult relationship with my mother. She used to wake me up in the middle of the night if I wasn't sleeping straight and was messing up the sheets. Now when I stay in hotels I sleep so straight they don't even think I've used the bed.

I made a tape recording of a bridge collapsing and I wanted to play it suddenly and very loudly when people were walking over a big bridge in Belgrade. The council forbid it. Their imagination is tiny; mine is big. I want always to shake everything up.