interviews

публикувано на 23.07.21 за БНР Интервю на Славена Илиева, която разказва за Зорница Стоянова и танцовата работилница. Оригиналната публикация и цялото интервю може да чуете тук. Зорница Стоянова е хореограф, режисьор, танцов критик, видео и светлинен дизайнер. През 2006 г. завършва Bennington College със специалност хореография и звуков дизайн. След това […]

by Emilee Lord originally written and published on thinkingdance.net Original article you can find here. January and February, synonymous with freezing temperatures and short days, are months that require resolve. While I would normally have spent as much of that time as possible under a blanket with a book, I […]

by Miryam Coppersmith originally published at thinkindance.net Original article you can see here. Zornitsa Stoyanova started Get What You Need (GWYN) in 2015 as an open-mic style community dance workshop. In 2019, Stoyanova launched a new dance platform, BodyMeld, reimagining GWYN as a seven month-long residency supporting two local artists, Mira Treatman and Janna Meiring. […]

At the 2019 edition of Etud and Friends, Stoyanova presented her work Un-seen, which examines how context transforms the “shiny materials” of Western economy, where immigration and dehumanization are tightly enmeshed. In this interview, the artist speaks about the significance of festivals like Etud and Friends, her own artistic vision, and her exploration of performance from an immigrant’s perspective.

"From pregnancy to birth to motherhood, Stoy­an­ova examines the female body without sentiment or the usu­al pa­ter­nal­ist­ic “won­der” that reads like a script to an ‘80s Lamaze how-to. “There’s a lot of fem­in­ist art, but I haven’t seen any­thing that dir­ectly re­sponds to moth­er­hood. Part of it is be­ing a moth­er brings you out of so­ci­ety, it can be a very lonely thing."

August 3rd, 2015 | CineWomen interview with Zornitsa Stoyanova – Zornitsa Stoyanova’s work convey a purely subjective, yet modernist, sensibility where the form conveys its meaning directly, heightening individuals’experiences of time and space. In Chrysalis figures appear and disappear in a gentle flow, sometimes moving the story forward, sometimes backward: […]