Butoh’s largest characteristics is to ‘give birth to’ dances by drawing out the ‘dance’ already, immanent in the dancer’s body ( this dance maybe refer to as original experience’; the word of inner landscape’ is often used in the butoh world).
We have recognized and amassed personal experiences, memories and bodily habits; and since butoh is an art of expression, we have montage those personal elements.
Masaki Iwana
The Garden of the Singing Ficuses
Dance Performance
Director
Ivo Dimchev
Horeography and Music
Ivo Dimchev
Performers
Mila Ghilardi
Juliana Saiska
Ivo Dimchev
There is a totally isolated special zone into the periphery or even in the center of the common conscious space where the deepest unforeseeable movements of my spirit trace out a picture of grotesque, dead beauty.
I call this place “The Garden of the Singing Ficuses”- a parallel reality of these particular states of the human body and spirit.
Watch Your Back
Dance Performance
Idea
Neli Mitewa
Concept
Brain Store Project
Fashion Design
Neli Mitewa in collaboration with the performers
Performers
Iva Sveshtarova
Mila Ghilardi
Neli Mitewa
Willy Prager
Stefan A. Shtereff
Support
Goethe Institut-Sofia
Swiss Cultural Program
Production
Brain Store Project
It is a performance of fashion, movement and text design. The theme embedded in the art work where the personal stories of the participants together with the peculiar study on the identity, attributed simplicity and uniformity to the front of their fashion creations, while they elaborated on the back.
Stitch
Concept
Brain Store Project
Choreography
Alan Good
Performers
Alan Good
Willy Prager
Mila Ghilardi
Stefan A. Shtereff
Dragana Alfirević
Costume Design
Neli Mitewa
Production
Odavision
Support
The American Foundation
Soros Foundation
Stitch is a stage performance, both a physical examination and a journey in the inner world of five wanderer walking along the edge . The author is the American choreographer Alan Goode who worked for fifteen years with Merce Cunningham and John Cage and later as a free artist with contemporary European choreographers. Critics compare his performances in the company of Merce Cunningham with an “unstoppable force of nature” and “scenes from the martial arts movie.”
Stitch is a research of Alan Good, which he defines as an “anthropology of sarcasm.” The choreographer enriches the movements by studying their origins in everyday events and images. Starting from the techniques of Cage/Cunningham , Duchamp/Rauschenberg and the Judson School, he prepares the contractors for unknown and unexpected perceptions, challenges them to repeat movements and divide them into smaller fragments, encourages them to oppose their own doubts.
Sofia SP/Science is Fiction
Concept
Kattrin Deufert
Thomas Plischke
Performers
Mila Ghilardi
Willy Prager
Greta Gancheva
Maya Stefanova
Production
Goethe Institut-Sofia
Odavision
Theater is Fiction
On the stage of Theatre Lab “SFUMATO” there are some cardboard boxes. Greta Gancheva, Mila Ghilardi and Willy Prager are presented to viewers as A, B, C and tell them that they are on the Sofia / SP station. Passengers have to remain calm. This is a scientific and cultural experiment. Just a Science-Fiction performance.
Maya Stefanova shows on a video wall the translation of their words in English, after asking the viewers to set their watches right with her own. The next performance is scheduled for Belgrade.
The action is set in 2468; the Earth has suffered a major cataclysm in 2007, so A, B, C have to excavate the remnant memories of human life of people on various places such as Station Sofia / SP. The survey is conducted in cooperation with the Swiss Air Steel Knives without Borders or something alike and, loyal to their “sponsor”, A, B, C constantly remind that, while “unfreezing” fragments of individual statements of different people from the past.
Individual phrases and lines are quoted out of context and form a palimpsest accumulation of statements, which rarely attract our attention in everyday conversation. The result is that now we hear them and pay attention to them. For example, „That who cannot make normal art makes conceptual art ” or “See you. Know where. / What?/ Know what .” and the like.
This is an action both funny and ironically dismantling our experience. It turns upside down and alienates by the theatrical presentation fragments of behavior patterns, reflections on the nature art, ways of communication, media, work, politics, etc.
Such laboratories create much more serious prospects in the meaningfulness of the theatre than those staging „serious art”…
Violeta Decheva (Kultura, newspaper)
The House of Bernarda Alba
After Federico Garcia Lorca
Director
Elena Panayotova
Performers
Veronika Petrova
Mila Ghilardi
Asia Ivanova
Rositza Gevrenova
Tzvetelina Gospodinova
Stela Krustev
Milena Stanoevich
Flamenco Trainer
Louise Catan
Set and Costume Design
Anna Kirilova
Production
Den Gri Foundation
Sfumato Theatre
Designed as a research drama constructed in a dance language mosaic – Spanish flamenco, takoneo, clapping and a bold transposition of Lorka’s text into a music of silence, psychologically emphasized, the performance The House of Bernarda Alba steps into the moody currents of the theatre of ’the new Romanticism’, of a personal inner flicker of emotion. Elena Panayotova by her creative energy and well-thought over gesture of dramatist-director, proves that the heroine of her play is a possible-realistic archetypal Alba.
The performance “The House of Bernarda Alba” is a distinct esthetic artefact and a significant socio-cultural gesture… in the theatre situation of today in Bulgaria.
Kamelia Nikolova, “Literaturen vestnik” Newspaper
Prager Strasse
Manipulative Performance
Director
Willy Prager
Dramaturgy and Visual Surrounding
Brain Store Project
Costume Adviser
Neli Mitewa
Performers
Mila Ghilardi
Stephan A. Shtereff
Neli Mitewa
Stoyan Nikolov
Support
Goethe Institut-Sofia
Swiss Cultural Programe in Bulgaria
Dance WEB
National Cultural Fund of the Bulgarian Ministry of Culture
“Everyone has its own place, own house, own town. I have my street – Prager Strasse.”
Prager Strasse is a manipulative performance. Through the game between the multimedia and everyday realities a new fiction world is achieved, with new own borders and rules.
Carmina Burana
Stage Cantata from Carl Orff
Conductor
Nobuaki Nakata
Director
Petar Oda
Choreography Concept
Mila Ghilardi
Performers
Jin Hee Lee/ soprano
Mark Fower/tenor
Myong Ill Han/ baritone
Mila Ghilardi/ dance interpretation
Light Design
Mario Bessa
Production
State Opera Stara Zagora
Using multimedia, light design, live camera, visual effects, unique choreographic approach the stage interpretation offer visual delight in frames of a neo-minimalistic staged atmosphere.
Mirror Phase
Physical and multimedia performance
Idea
Iva Sveshtarova
Director
Iva Sveshtarova in cooperation with the performers
Performers
Ralitcha Kashova
Mila Ghilardi
Iva Sveshtarova
Visual Surrounding
Mário Bessa
The idea for the show “Mirror – image phase” is provoked by the pictures of the artist Egon Shile, his self – portrait, as well as his pictures of naked female bodies. Methodological searching, based on a multitude physical actions, by means of the interaction of the spasmodic bodies from the Shile’s drawings emitting enjoyment and discomfort, often expressed in a grotesque plan and their transformation in a live body.
Funktionen
Concept and Choreography
Thomas Lehmen
Project Management
Sven-Thore Kramm
Riccarda Herre
Visual Design
Katrin Schoof
Technical Director
Götz Dihlmann
Assistance
Jenny Döll
Production
Thomas Lehmen
Co-production
Springdance/Utrecht
Performers
Eduard Gabia
Lucia Glass
Pirkko Husemann
Krööt Juurak
Mart Kangro
Mila Ghilardi
Willy Prager
“Funktionen” goes beyond a dual reciprocity, by virtue of a rotating devision of functions.
The abstract functions Material, Observation, Interpretation, Mediation and Manipulation become content-related through their encounter with ideas and intentions of the dancers, which work within these functions.
