Galina Borissova - one of the most interesting choreographers in Bulgarian contemporary dance. Her works are mostly internationally copproduced. The Bulgarian choreographer Galina Borissova was the winner of the International Choreographer Concours in Groningen in 1998. 1996 she participated in the International Choreographers Residency Program in USA and presented her work at American Dance Festival. In 1998, the International Competition awarded her first prize for choreographers, for her performance, Never Ending Story. Her work has been presented internationally in Holland, Germany, Poland, Estonia, Sweden and the Czech Republic as well as throughout the United States.
Other productions:
"Alfred`s best friends" - produced by Red House Centre for Culture and debate, Sofia (More information http://www.redhouse-sofia.org
"Ataraxia" - coproduction of Osavisio and Grand Theatre /Groningen, Holland/
"Razstroistvo", "La Sonnambula" (More info http://www.czechcenter.com/CentralStationDance.htm)
galinaborissova @
hotmail.com
Reviews about Galina’s works:
“She is in my judgement, an excellent resource in the modern dance world. I much admire her work as teacher and choreographer, basing this judgement on what I saw during the 1996 American Dance Festival’s season. Moreover she is a very pleasant, attractive and congenial person, all over adding to her effectiveness in her various pursuits.”
Martha Mayers
ADF Dean & Professor Emeritus - Connecticut College
Galina is one of the small numbers of Bulgarian dancers and choreographers who is truly proficient in contemporary dance techniques. Because of her special interest and dedication, she has developed these skills in spite of the relative lack of opportunity in Bulgaria to study modern forms. She is an extremely gifted dancer with extraordinary natural ability aided by great intelligence."
Elsa Limbach, choreographer, USA
"A Never Ending Story" is a special piece of work, made in an original way with good understanding for theatrical aspects. The exiting movement concept is deal with inventively, in an inspired way Borissova puts bodies in motion throughout the piece. She can make her statement visible. She created her own universe and a poignant sense of humour as well."
Report of the international jury, Jan .97, and 6th competition for choreographers, Holland
“Galina’s choreography reveals an original creative thinker. Her work is highly theatrical
and full of surpasses. It is also witty, an unusual quality in contemporary dance these days. She is capable of independent work, she is obviously a successful director of dancers, actors, and civilians alike. I have no doubt that Galina is strongly motivated to find new direction in the area of dance-theatre she has chosen for herself.”
Linda Tarnay
Assistant Chair, Dance Department, New York University
================================================================
GALINA BORISSOVA - CV
Born: 5th March1966, in Sofia
Address: Bulgaria
1281 Novi Iskar
Iskarsko defile str. # 100
e-mail : galiaborissova
@
gmail.com
Galina Boriisova is a dancer and choreographer whose work has a very strong theatrical aspect. She first makes a significant impression at the American Dance Festival’96, where she was participating in the International Choreographers Residency Program. In 1998 she received first prize for her performance
“A Never Ending Story” in Gronigen/Holland at the International Competition for Choreographers. She has created more than 20 projects of her own, that have been presented in Bulgaria, Holland, Germany, Poland, Estonia, Czech Republic, Sweden and USA. As a dancer she worked with such choreographers as Louise Bedard/Canada, Lenka Flory/Czech Republic, Simone Sandroni/Italy,
Elsa Limbach/USA, and Kubilai Khan Investigations/France.
Since 1999 Galina Borissova has represented Bulgarian dance as a partner of AEROWAVES - European network, initiation by the Place Theatre in London. Member of DANCE ACROSS BORDERS - she has been with the group for 3 times. Galina has been supported by the Grand theatre, Groningen in 2000 who has been producing and presenting her "ATARAXIA" project in Sophiensaele, Berlin & Dance Festival- Bythom, Krakov, and International Theatre Festival-Varna.
Grand theatre also supported her male piece “Alfred’s best friends” produced by Culture 2000 program of EU, CoDaCo , Red House, Sofia, DCM Foundation, Bucharest.
Galina has been worked with the Swedish composer Rikard Borggard for “Lost Chicks”, “Ataraxia”, and “Alfred’s best friends” projects.
She also worked for different theatre projects in Bulgaria, Czech Republic, Serbia, Sweden, Holland and USA.
Her works has been presented for AEROWAVES in Amsterdam in 1998, Sylesian festival in Bythom, 2000/ Varna Summer Festival 2000,1,2,3 /Dance Across Borders 1999 in Politalu in Estonia and 2001 in Gothenburg/ Spring Festival in Utrecht in 2003, Hanover Festival 2003, Central Station at dance Theatre Workshop in New York 2003 , Balkan dance platform in Sofia and Bucharest and others.
Galina received residency at PACT Zollverein, Essen in 2004 where she did her new solo work “Juanita Hildegard Bo” (the production of Red House, Sofia).
The solo has been in Goteborg for 24 kvadrat in , presented for East West festival in Holland for Groningen University celibration and received golden medal in Belgrade for best solo performer. The production of Red House, Sofia.
EDUCATION:
1985
Galina Borissova is graduated from the State Choreographic School, Sofia
1987,88,89
Attends the summer courses at Palluca Schule, Dresden
1996 Participated at the American Dance Festival - International Residency Program, at Duke University, NC.
1998
Won first prize for her project “A Never Ending Story” International Competition for Choreographers, Groningen, The Netherlands.
As a choreographer she did more than 15 stage projects.
SUPPLEMENTAL EDUCATION AND PRACTICE:
1995
Courses at Quebec University and Contemporary Dance School - LADDMI, Montreal
1996 Guest choreographer - International Residency Program, American Dance Festival, Duke University, NC
1999
Attended International Workshop festival, IFW, London - teachers: Sofia Kalinska, Mladen Materic and Caret Newell.
2000
January - She participated in exchange program between 10 composers and 10 choreographers, workshop organised by The Royal Festival Hall, London.
2001
Participated in Butos workshop with Masaki Ivana
2002
Scholarship for DCM Bucharest . Workshops with Mark Tompkins and Lisa Nelson -
Improvisation and David Zambrano
Since 1987
Galina worked as a teacher for different theatres & formations with independent artists. Worked with New Bulgarian University in Sofia, Duncan Center in Prague, Norderlingen school in Groningen.
Since 1992
she is in the faculty as a former teacher of Dance Theatre Program at the Theatre Department - New Bulgarian University
Galina pursued study first in Graham, Horton and Limon techniques. Since 1995 she studied Laban Analyses, Bartenieff Fundamentals, Body- Mind Centering, Contact Improvisation, Psychomotor therapy, Body-Alignment, Dr Moshe Feldenkrais’ method, as well as Bulgarian folk dances and Historical Cord dances.
TEACHING EXPERIENCE:
1986.87
Experimental Theatre, Gabrovo
1988,89
Theatre Atelier 313, Sofia1991 Dance School, Serres, Greece
1994
Theatre Studio 4XC, Sofia
1992
since now New Bulgarian University, Sofia
1997
Duncan Center, Prague
1999
National Academy for Film and Theatre Arts “K.Saraphov’
2003
Norderlingen Schoool, Groningen, Holland
As a free-lance choreographer she made various choreographic forms- solo, duos and group projects. Worked with actors, dancers, students and civilians like.
CHOREOGRAPHIES:
2005"My dog likes Renata"
- with the actress Lidia Stefanova and her dog Roni
2004 “Juanita Hildegard Bo” solo,
premiered at 24 Kvadrat
in Goteborg, Sweden, production of Red House, Sofia
2003 “La Sonnambula” solo,
has been
presented for Le Subsistances festival in Lyon, National Theatre in Novi Sad, Serbia
and
Central Station festival for
Dance Theatre Workshop in New York
2003 "From your bones-A Duel?" Hannover festival
Floor van Keulen/Guy Weizman
2003 “Galina’s freinds”-
Norderlingen theatre school, Grand Theatre, Groningen
2003 “Alfred’s best friends”
Spring dance festival, Utrecht
2002 "Lost Chicks"
Theatre Giljotin, Stockholm
2002 "Petya, Sonya &Lidia"
New Bulgarian University project, Sofia
2001 "Looking for Versavia"
Ballet Arabesque project, DMT, Sofia
2001 "17th of October"
Balkan Dance Platform, Sofia
2001 "Defile" solo,
Gotenborgh, Sweden, Dance Across Borders
2001 “Transitions”,
Hippodrome Theatre, Gainesville, FL
2000 “Ataraxia”
Production of the Grand Theatre, Groningen, Holland,
co-partners-Sophiensaele, Berlin, Odavision, Sofia
1999
“Destination in the rough”
- solo improvised performing work “Sfumato” Theatre
1998
"Attractive theories and post-modern rituals"
National Palace of Culture, Sofia
1997"A Never Ending Story"
-independent group- Military club, Sofia
The project received with first prize for choreography, Holland 1998
1997
"If I have 3 days ...in the 13th century"
, Duncan Centre, Prague
1996
"Gallantry of the time"-
New Bulgarian University production, Theatre Sofia
1996
"Passion simple"-
American Dance Festival, USA
1995
"The Ball"-
Theatre Studio 4XC, Theatre 4XC, Sofia
1994
"The Spiral"
- Alexander club, Sofia
1993
"French Quadrille for 8 people
” project of New Bulgarian University
1992 Concert
for Tzikabaka’s school, Serres, Greece
IMPORTANT TEACHERS:
1977- 1985
Marina Koledenko, Russia/ Kalina Bogoeva/ Elisaveta Marinova, Bulgaria Ballet - Vaganova method
1988,89
Migel Lopez, USA/ Horton technique,
Jean Gebron/ Modern
1990-93
Elsa Limbach, USA / Bartenieff Fundamentals/ 1995
Loise Bedard, Canada/ practical experience/ 1996
American Dance Festival -
Wendel Beavers/ developmental movements
/ Mark Haim - Modern
/ Martha Mayers- choreolab
/ Jaclynn Villamil- Laban Analyses
/ Eric Franclin - Body-Alignment /
Daniel Lepcoff - Contact Improvisation , David Zambrano - Improvisation,
Caret Newell-Dr Moshe Feldenkrais’ method/ Buto-
Masaki Ivana /
Lisa Nelson- Improvisation /
Mark Tompkins- Improvisation/ Xavier le Roy- workshop
Reviews about Galina’s works:
“She is in my judgement, an excellent resource in the modern dance world. I much admire her work as teacher and choreographer, basing this judgement on what I saw during the 1996 American Dance Festival’s season. Moreover she is a very pleasant, attractive and congenial person, all over adding to her effectiveness in her various pursuits.”
Martha Mayers
ADF Dean & Professor Emeritus - Connecticut College
Galina is one of the small numbers of Bulgarian dancers and choreographers who is truly proficient in contemporary dance techniques. Because of her special interest and dedication, she has developed these skills in spite of the relative lack of opportunity in Bulgaria to study modern forms. She is an extremely gifted dancer with extraordinary natural ability aided by great intelligence."
Elsa Limbach, choreographer, USA
"A Never Ending Story" is a special piece of work, made in an original way with good understanding for theatrical aspects. The exiting movement concept is deal with inventively, in an inspired way Borissova puts bodies in motion throughout the piece. She can make her statement visible. She created her own universe and a poignant sense of humour as well."
Report of the international jury, Jan .97, and 6th competition for choreographers, Holland
“Galina’s choreography reveals an original creative thinker. Her work is highly theatrical
and full of surpasses. It is also witty, an unusual quality in contemporary dance these days. She is capable of independent work, she is obviously a successful director of dancers, actors, and civilians alike. I have no doubt that Galina is strongly motivated to find new direction in the area of dance-theatre she has chosen for herself.”
Linda Tarnay
Assistant Chair, Dance Department, New York University
===============================================================
"
Незная защо в българския ежедневен речник думата мутант се възприема като нещо негативно.
"
Влезнах в балетното училище случайно, първото кандидатстване се провали, поради нелепата причина, че съм имала
белег на лицето (от изгаряне на 3 годинки). Втория път ме приеха пак поради нелепата причина, че сам си направила пластична операция на белега. Също така скрих, че в паралелна
позиция краката ми не бяха съвсем прави, по стандарта за балерина. Всичко това може би несъзнателно оформи в мене още от ранна детска възраст
чуство за индивидуалност и безсмислена борба за доказване. По късно тези две неща - лъжата и случайността ме научиха на осъзнаване на
действителноста, която в зрелите ми абитуриентски години (1985г.) не изглеждаше никак перспективна.
Последвалите "нарочни" специализации в Америка и Западна Европа ме до-образоваха в усещането за
разграничаване и ориентиране в безкрайното поле, съставляващо техники и стилове, методи и танцови предпочитания. Разбирах, че
следвайки модата- губя индивидуалността, следвайки себе си- губя лесното.
След 1989г. имах шанса да започна да препаоавам на 21 години, без да знам точно как да правя това, и тъй като работех с група
актьори, с тях можех да експериментирам. Така започнах да търся моя начин за ефикасни движения, понякога удобни, понягога неудобни, за
да освободя тялото си от 9 годишната постановка на балетната техника, закодирана дълбоко в тялото и съзнанието ми. Исках да бъда свободна и да
не повтарям вече познатото.
Така хореографиите ми не можеха да се оприличат с никакъв конкретен стил, и често в началото смущаваха колегите ми в
България. Публиката обаче, възприемаше спектаклите ми интуитивно и необременено от познания и опит. Тази ми индивидуалност беше оценена в
Холандия, където спечелих първа награда за хореография и по-късно бях подкрепена няколко пъти от Гранд Театър, Хронинген. Така
получих сила, особено необходима, за да се боря за мястото си и на националната сцена.
За последните 20 години продуцирах, участвах, и осъществих повече от 15 спектакъла, почти всичките с артисти на
свободна практика от България и чужбина. Танцьорите още в началото на 20 век преминават границите и пътуват непрекъснато, сменяйки
континенти. Да се говори за финландски танц или български танц е доста ограничена представа според мене, тъй като финландския или
българския танц се прави от имена, а не от националности.
Темите които "експлоатирам" в моите постановки са обикновени, човешки, естествени реакции на моето ежедневие и личен
живот. Веднъж получих комплиминтите, че съм "Чаплинова актриса" и че хореографиите ми имат чуство за хумор, близко като това на героя "Мистър
Бин".
Най-голямата ми награда са тези комплименти.
Предпочитам модерното вариете и кабаре, пред интелектуалните ескпериментални претенции, които никой не иска
да гледа.
Учудва ме неразбирането, че даже и да няма техт, в невербалните представления също има
(
а понякога) много сериозна драматургия. Това дали искам да завърша спектакъла си с лице към публиката или с гръб, вече е statement. Това което тече извън думите, чрез действията е много повече силно усещане, отколкото коментара или изявленията за каквото и да било.
Класическия танц свързвам повече с външността и естетиката, красотата и виталността, докато модерния танц ми
дава повече възможности за преподреждане на реалността, тъй като модерността е разрушаване на първичността на външната реалност.
В последните ми спектакли забелязвам дистанция към материала който създавам. Така се създава възможност за личностни
интерпретации на наблюдаваното и преживяното. Използвам непосредствеността на фактите, отколкото сензациозността чрез използането им.
Не се интересувам от концепции за пространство, време и движения, защото смятам, че те съществуват в нас. Интересува ме повече интуицията,
любовта, омразата, риска…Грозното ме пронизва дълбоко, като бръчки по лицето. Красивото ме разплаква, като невъзможност за повторение.
Танца след музиката е това, което би ме накарало да отворя широко очи.
Не си представям бъдещето му в клониране на индивиди, които покриват европейските стандарти. Вярвам в оцеляването на
индивидуалността. Понякога за сметка на личността.
Изисква се голяма смелост да се "разголиш" пред публиката, да се представиш непосредствено, без да се натрапваш.
Някои беше казал, че сцената не бива да се интерпретира. Тя се възприема като сензация и се улавя чрез тази емоция.
Наричам себе си хореограф мутант.
В английския речник mutant -значи:
променящ се, изменящсе- който е резултат на промяна. Незная защо в българския ежедневен речник думата мутант се възприема като нещо негативно.
Галина
Борисова
София 20 ноември 2005
Red House- center for culture and political debates http://www.redhouse-sofia.org/ the directors- Dessy Gavrilova - email: dgavrilova@redhouse-sofia.org and Tzvetelina Iossifova- tzviossifova@redhouse-sofia.org
my last solo info at red house: http://www.redhouse-sofia.org/index_e.html
there is nice information on line for culture, premieres,critics, but it is only in bulgarian language :http://www.cult.bg/
Бbrain Сstore Пproject - new organization- names Willy Prager- willyprager@abv.bg Stefan Shteref- stefans@abv.bg /www.brainstoreproject.com
Ivo Dimtchev-humarts foundation- very talanted actor- dancer/ email:ivodimtchev@yahoo.com
site and photos (c) www.on-line-dance.tv maginel paris 2006