BodyMeld – new choreographies Contemporary dance, choreography and dance workshops by Zornitsa Stoyanova

Paper Duchess

Paper Duchess (solo – 2012) 25min

“She is Baroque. Her gestures are precise, formal…they are telling us something and it is amazing. I want to keep hearing it.….”  ~ Megan Bridge for

Paper Duchess explores images of formality vs. casualness, tied to communication through gesture, form, emotional content and image.  Zornitsa starts with setting up a notion of magical theatricality, a floating paper amoeba in the space that slowly comes into focus and starts talking through gesture.  This image is destroyed as she takes her paper dress off and the magic trick is revealed.  The character underneath is in casual jeans, moving as a matter of fact, creating a new world of casual interaction with the viewers.   Zornitsa presents ways of deconstructing communication and attempts to translate, internal and external narratives through the body.

Paper Duchess was performed throughout 2012 in multiple venues in Philadelphia and at Wanted Festival in Rennes, France.

for booking email Zornitsa at zornitsa@bodymeld(dot)org

What Megan Bridge wrote about Paper Duchess which was performed on the same bill with works by Ishmael Houston-Jones and Yvonne Meyer:

Third dance. Enter a large white figure in a dress made of paper…skirt illuminated from the inside with dangling (no, they’re stuffed into her socks, I see later) flashlights. Arms, upper body, and head held as if disconnected…a feeling further emphasized by the fact that the flashlights don’t illuminate the upper half of this lady-creature. She is Baroque. Her gestures are precise, formal…they are telling us something and it is amazing. I want to keep hearing it. I hear the sound of her fingertips crinkling on her paper skirt. She takes off the costume (too soon!), and it’s Zornitsa Stoyanova. She does a silent gesturing, clowning, flirting routine that is familiar to me. I love this dancer, this person, but I want to know more about that unfamiliar creature. The music (pop-ish, and again uncredited) at first closes down potentialities by putting a closed frame around my experience. But Stoyanova can move. She becomes creature again, humanoid this time, with so much depth…articulate and precise in face, hands, and limbs, embodied and expressive. Again, this creature disappears much too soon.”


Full review of the whole evening at Falls Fridge Fesival in Philadelphia 2012: