What is nothing at the ends and high in the middle?
Thursday, September 26th @8pm
Friday September 27th @6pm and @8pm
Duderstadt Video Studio
University of Michigan
An evening of dance/theater short works directed by Tzveta Kassabova. What is nothing at the ends and high in the middle? is an attempt to make sense of the world we live in, relationships we experience and witness, and our attitudes to existential questions of all times. The evening consists of three short works: Little is left to tell, Ohio Impromptu, and Beginnings.
There is a limited audience capacity for this show - please make a reservation in advance by e-mailing firstname.lastname@example.org
Free - no tickets required
for more information
Department of Theatre & Drama, University of Michigan
S U P E R W E
The year of the AWARDS!!!
Tzveta won four Metro DC Dance Awards this year!
- Outstanding Overall Production - Small Venue (shared evening with Betty Skeen for their concert at Dance Place, February 2011)
- Excellence in Stage Design/ Multimedia (collaboration with Betty Skeen and Paul Jackson for their concert at Dance Place, February 2011)
- Outstanding New Work (for The Opposite of Killing at Dance Place, February 2011)
- Excellence in Costume Design (for Sharon Mansur's cimmerian light at the Clarice Smith Performing Arts Center, February 2011)
Tzveta has been selected among 'the top 25 to watch' for 2012 by Dance Magazine!
Tzveta Kassabovaby Emily Macel Theys
A tornado of ecstatic momentum sweeping across the stage; mile-long limbs both spastic and metered; a mess of dark curls the last to hit the ground as her body turns ragdoll-like. Tzveta Kassabova’s movement quality is surreal, as if Salvador Dali himself painted her into existence. The Bulgarian-born gymnast-turned-meteorologist-turned dancer/choreographer/designer is a prolific maker and mover. She spent several years in NYC performing with David Dorfman and others before settling back in DC, where she currently teaches, dances with Pearson Widrig Dance Theater, and creates her own work. She often builds non-conventional sets—like the circular stage where dancers and audience members can interact in her Where Colors Blend into Sound. Her scientific background shines through in her choreography—in The Opposite of Killing, her dancers test various velocities, momentums, and trajectories. This month, Kassabova will premiere a collaboration with theater director Naoko Maeshiba at Dance Place. And as a 2011–12 resident artist at American Dance Institute, she’ll premiere a new work in May. —Emily Macel Theys
You can see Dance Magazine issue here.