Press

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'Last Thursday, that care was most evident in the dancing itself, humble yet hyper-aware. Each piece contained echoes of the others — have we seen that pathway, that lunge, that embrace before? — in a way that seemed more intentional than incidental.'
SIOBHAN BURKE, The New York Times
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'With her halo of curls streaming behind her, she heaves and flings her body: an angel trying to loose the demon inside. Her spastic volatility, riveting in its purity, finally exhausts itself as, in a smudge of hazy light, Kassabova pulses into an expansive split....
Less human beings and more magical creatures dropped in from a world infinitely gentler and wilder than ours, the two (Kassabova and Kelly) treat space like paper: With limbs functioning as scissors, they slice and dice air into origami, occasionally collapsing into each other’s arms or flopping onto the floor, their energies exhausted, but only for that moment.'
Erin Bomboy, Dance Enthusiast

'It was, for me, a somewhat cryptic performance, but the women seemed tied to their tools and each other in a way that felt affirmative — as if they were preparing to turn the lot into an abundant garden and initiating their work with an elaborate rite or prayer. Their faces, especially Kassabova’s, betrayed total immersion, and they seemed so enraptured by their movements that I found myself unable to leave, hooked and hovering, waiting to see what they would do next.'
 Jillian Steinhauer, Hyperallergic

'Tzveta Kassabova moves as if her limbs are only loosely joined to her body. It’s as though every impetus to fling an arm, hurl her chest forward, or kick out a leg then reverse her torso, sending that leg into a high arabesque, is simply part of the way she moves. Her quirky, somewhat dark Tim Burton-esque movement quality is all her own. It’s no surprise that Sara Pearson and Patrik Widrig used her improvisations as inspiration for Drama, which premiered last month.'
Emily Macel Theys, Dance Magazine

"Opposite of Killing" is one of the most impactful pieces I have ever seen. And the dancers were fabulous -- honest, clear, an ensemble with the perfect alchemy.
Kathy Adams, The Salt Lake Tribu

'The linchpin of this work was Tzveta Kassabova, a tall, long-limbed dancer with a steely gaze and wild tangle of curly brown hair. Program notes indicate that her improvisations helped build a foundation for the choreography, and it shows. In her performance, every step looked intuitive, assured and pure. She’s appealing to watch because nothing she does is safe, and yet she is always in control.'

Sarah Halzack, The Washington Post

'"Bigodini,"made wonderfully imaginative use of the theater's odd layout.'
Jennifer Dunning, The New York Times

'There are a few forward-thinking choreographers like Tzveta Kassabova .... who meticulously craft high-quality performances.'
Amanda Abrams, Washington City Paper

'The choreography and movement .... was astounding.'
Lisa Tibbetts, DC Theater Scene

'The highlight of the program was Kassabova's solo "Happy 29 of January."... Kassabova is an intriguing performer who brought me instantly into her world and I didn't want to leave.'
Kelly Hayes, Offoffoff.com

'By evening’s end, the stripped down space has been transformed in a performative tattoo of body-centered visual art, giving new meaning to the mid-20th century school of action painting/ Cho and Kassabova walk, drop, roll, all the while constantly marking up the stage floor and back wall.'
Lisa Traiger, D.C. Dance Watcher

'Walton said of Kassabova's choreography of her ensemble piece, "it's a large group that moves non-stop. The patterns are amazing."'
Meg Tipper, Catonsville Patch

'Tzveta Kassabova did a beautiful, live dance portrait full of subtle, expressive movement.'
Douglas Galbi, ode Street Tribune

'“Little is left to tell,” a new work by a University of Florida dance professor Tzveta Kassabova. Samuel Beckett, a 20th century Irish writer, provided the inspiration for “Little is left to tell.” That line closes his short play “The Ohio Impromptu,” but the dance piece also brilliantly evoked Beckett’s “Krapp’s Last Tape,” “Happy Days” and the writer’s general absurdist, Sisyphean ethos.... groundbreaking dancing. '
Rebecca Ritzel, The Washington Post