2013. Amsterdam
Diploma work at SNDO (School for new dance development, Amsterdam), premiered at the Dutch theater Frascati 2. The work is a collaboration with Estonian choreographer Alissa Shnaider and Dutch composer Renzo Van Steenbergen.
The work has been shown at WhyNot #4 and Perestroyka festivals, Amsterdam; Ufer studios, Berlin; International Contemporary Dance Festival TSEKH, Moscow; selected as a priority company 2014 by Aerowaves, Spring Forward festival, Sweden; selected for NEU NOW festival 2014.
In the performance "REPOSE" the choreographers were interested in the process of translating visual art into a dance medium. From visual art they tried to extract a specific way of working with space, as well as a specific sense of time that was borrowed from cinema (the relationship between image and sound). The next step was to translate these things and transform them into a theatrical space. At the same time, the performance directly borrowed the concept of the zone from Tarkovsky's movie Stalker. The artists were interested in the sonic anomaly they built, gradually separating sound from its source throughout the performance (microphones sounding the heel of one dancer and the breath of another).
Concept and choreography: Olga Tsvetkova & Alissa Šnaider
Sound artist: Renzo Van Steenbergen
advice: Katerina Bakatsaki, Jeroen Fabius and Sander Blom.
Selection for Aerowaves
Diploma work at SNDO (School for new dance development, Amsterdam), premiered at the Dutch theater Frascati 2. The work is a collaboration with Estonian choreographer Alissa Shnaider and Dutch composer Renzo Van Steenbergen.
The work has been shown at WhyNot #4 and Perestroyka festivals, Amsterdam; Ufer studios, Berlin; International Contemporary Dance Festival TSEKH, Moscow; selected as a priority company 2014 by Aerowaves, Spring Forward festival, Sweden; selected for NEU NOW festival 2014.
In the performance "REPOSE" the choreographers were interested in the process of translating visual art into a dance medium. From visual art they tried to extract a specific way of working with space, as well as a specific sense of time that was borrowed from cinema (the relationship between image and sound). The next step was to translate these things and transform them into a theatrical space. At the same time, the performance directly borrowed the concept of the zone from Tarkovsky's movie Stalker. The artists were interested in the sonic anomaly they built, gradually separating sound from its source throughout the performance (microphones sounding the heel of one dancer and the breath of another).
Concept and choreography: Olga Tsvetkova & Alissa Šnaider
Sound artist: Renzo Van Steenbergen
advice: Katerina Bakatsaki, Jeroen Fabius and Sander Blom.
Selection for Aerowaves
"REPOSE is anything but restful: it messes with your head, your sight, your senses. Olga Tsvetkova is barefoot, Alissa Šnaider in perilously high heels. Both are framed within a tilted trapezoid, and their torsos constantly list away from their legs. Centres of gravity look skewed, angles are “off”.
Not just angles: sounds which seem to come from microphone pick-ups – the chug of Tsvetkova's breath, the snaredrum spike of Šnaider's heel, the screechy-chalk torture of her scraping shoe – turn out to be recorded effects. As sound splits off from action the pair uncouple too, moving from side by side to front and back, the asymmetries of sound and sight dislocating our senses like some audiovisual Ames Room.
It's a powerfully unsettling piece that leaves your brain teetering on precarious perceptual stilettos".
— Sanjoy Roy (has written on dance for the UK's Guardian newspaper since 2002. Formerly an editor and publications manager for Dance Books Ltd) / Aerowaves'14.
"Behind an asymmetric large metallic frame, suspended from wires, duo Olga Tsvetkova and Alissa Snaider slowly move with concentrated resistance, like marionettes trapped inside a dystopian Polaroid. Tsvetkova, also a video artist, fills her choreographic space with an interactive and cumulative sound design - amplified breathing, stilettos hitting hard on the floor, hammering and squeaking. Layers are added with echo effects and delays which build up to a crescendo that ends abruptly. Silence.
The art of using few tools is represented with repetitive continuous movements and sounds. Throughout nearly 25 minutes the performers maintain their outward focus until Tsvetkova finally leaves the frame. A change of perspective. Questions about emancipation linger. What happens outside the frame?"
— Tanja Andersson Lidberg, Sweden / Aerowaves'14.
Not just angles: sounds which seem to come from microphone pick-ups – the chug of Tsvetkova's breath, the snaredrum spike of Šnaider's heel, the screechy-chalk torture of her scraping shoe – turn out to be recorded effects. As sound splits off from action the pair uncouple too, moving from side by side to front and back, the asymmetries of sound and sight dislocating our senses like some audiovisual Ames Room.
It's a powerfully unsettling piece that leaves your brain teetering on precarious perceptual stilettos".
— Sanjoy Roy (has written on dance for the UK's Guardian newspaper since 2002. Formerly an editor and publications manager for Dance Books Ltd) / Aerowaves'14.
"Behind an asymmetric large metallic frame, suspended from wires, duo Olga Tsvetkova and Alissa Snaider slowly move with concentrated resistance, like marionettes trapped inside a dystopian Polaroid. Tsvetkova, also a video artist, fills her choreographic space with an interactive and cumulative sound design - amplified breathing, stilettos hitting hard on the floor, hammering and squeaking. Layers are added with echo effects and delays which build up to a crescendo that ends abruptly. Silence.
The art of using few tools is represented with repetitive continuous movements and sounds. Throughout nearly 25 minutes the performers maintain their outward focus until Tsvetkova finally leaves the frame. A change of perspective. Questions about emancipation linger. What happens outside the frame?"
— Tanja Andersson Lidberg, Sweden / Aerowaves'14.
