Zuzana Burianová
Profile
Zuzana Burianová (1983, Žilina) dancer, choreographer, performer, singer, musician, director, and pedagogue, started her dancing career in the Dance Theatre of Alternatives (known as TDA) in Žilina. She graduated from the Music and Dance Faculty of the Academy of Performing Arts in Bratislava, where she majored in modern dance pedagogy. She continued her studies at the Concordia University in Montreal, Canada, where she earned a bachelor’s degree in choreography of contemporary dance (in the class of Michael Montanaro, a Cirque du Soleil artist) and in jazz singing. Later on, she studied at the University of Stavanger in Norway, where she specialized in interpretation of modern dance. Burianová concluded her studies in Querétaro in Mexico, where she attended a dance conservatory with a focus on jazz dance technique.
At present, Zuzana Burianová is creating her own choreographies, works as a teacher of both professionals and amateurs, produces dance films, and performs as a guest artist in dance productions. She is the director of the Dance Theatre of Alternatives (TDA), where she has closely collaborated with dancers, musicians, and filmmakers since 2003. Recently, she has been engaged in intense collaboration with film and visual artists associated with the DogDocs group and renowned choreographers, professionals as well as amateur dancers. In the Labyrinth centre for dance and movement in Žilina, she teaches contemporary and jazz dance, José Limon’s technique, and contact improvisations. She has systematically developed community-based artistic cooperation in the Žilina region, and her extensive pedagogical work has actively contributed to the advancement of dance art in and around the city of Žilina. Burianová has collaborated with a great number of international pedagogues and choreographers (Ray Chung, Daniel Lepkoff, David Zambrano, Julyen Hamilton, Daniel Tinazzi, Jane Panetta, Chrysa Parkinson, Edna Lima, Joe Alegato, Sebastian Prantl, Sophie Billy, Alain Washington, Mathew Hawkins). As a choreographer, she works in close cooperation with the Puppet Theatre in Žilina and the City Theatre Žilina. As an author and performer, she has contributed to numerous site-specific projects in Slovakia and abroad.
Her first creative period at the Dance Theatre of Alternatives is defined by processing personal testimonies that are charged with much passionate energy to make discoveries. Burianová uses this energy to explore and transcend thematic boundaries and the possibilities of their expression in movement. The performances from this period include, for example, her dance projects Diaries (2009), Apple (2001), Uncaught (2002), It’s Us (2007), Expectations (2012), Dandó (2013), Egoland (2013). Later on, there were projects addressing issues of social relevance and cultural identity. These include, among others: Conversations (2014), Showdown, The Thirty-year Journey (2016), Framing (2017), Indigo (2017), i – Identity Loss (2018). Many of these works have found their artistic doubles in film or were remediated into movies.
In collaboration with the TDA, Burianová co-authored dance films, created choreographies, and directed such dance movies as Showdown (2012), The Thirty-year Journey (2016), Speech of a Breath (2007), The Way You Speak (2007), Diaries (2010), Tragoolater (2013), When the Heart Beats Right (2017), Ľuboš’s Regression (2012). The films The Way You Look Around (2007) and Lionel Goulux (2007) were presented during her studies at Concordia University in Montreal. In addition, she is the author of short film productions which resulted from theme-based residencies, workshops, and seminars.
She has collaborated with eminent choreographers and directors on several dance film projects, e.g., Matej Matejka and Milan Kozánek – The Conflict of Apathy, David Butula – Voices of the Body, Peter Pikna – Diaries, DogDocs civic association, etc.). She has been involved in organizing and leading art workshops for people with special needs and mental disabilities, organising the Jašidielňa festival in Žilina and cooperating with the Land of Harmony Foundation. She is also an active musician and vocalist, which directly influences her work with jazz, world, and ethno music. These music forms are directly incorporated into her choreographies. Burianová is the singer of the Balkanansambel band, and performs with the music group CVD combo, and the jazz Big Band of J. M. Hurban Conservatory in Žilina.
As a performer and creative artist, she has contributed to the choreographies of such artists as Jaroslav Viňarský, Mathew Roggers, Carmen Ruiz, Milan Kozánek, Peter Šavel, Katarína Brestovanská, Kiani Del Valé, Daniel Raček, and Kei Mimakiová, among others.
In her work, Burianová frequently addresses the theme of authentic identity as well as identity in a broader social and cultural context. She has been fascinated by the traditional hierarchy of relationships which she boldly confronts with social evolution and living reality. She frequently uses comparative methods to point out the misbalance in the evolution of the closest human relationships and the scientific and technological advancement, its position and importance in our lives. In her choreographic work, Burianová applies unrestrained and vital performative expressivity which draws on high-quality performance. Her musical talent and dancing disposition, in addition to a highly developed musicality, has infused her projects with a diverse rhythmization of movement, especially step variations. The movement rhythm appears as a dramatizing element which frames the individual dance scenes.
In her project Diaries, Burianová used experimental form to authentically capture and document the reality of life. She uncovers the hidden beauty of little things, winding contexts, and fatal interconnections. Recording the unexciting flow of everyday ordinariness turns into dramatic concentration of perception on gesture details, the potential of an encounter, as well as the loss of options. Performers write their perception of the shared space-time in movement phrases. The rapid rhythm of the alternating images and the thrilling pace of the movement phrases dynamise the plot. The shortening of individual sequences results in an instantaneous image in which the performers are situationally connected, each of their gestures finding resonance even in the most distant relationship. The fluidity of presence carries within it the promise of otherness. The diversity of reactions to an identical stimulus thus creates a colourful kaleidoscope of the possibilities of reality.
Framing (2017) is a dance project whose main theme is the danger inherent in traditional social framing. It unmasks stereotypes and their origin and boldly confronts them with social reality. With affectionate humour, the project exposes the banality of prejudice and the absurdity arising from the adherence to established, though obviously dysfunctional, opinion matrices. The choreographer reassesses the hierarchy of relationships in the dance images and critically comments on the monopoly of usual behaviour in society. The project is a kind of social laboratory in which the artist transcends socially imposed boundaries and takes the risk of personal responsibility for her decisions and actions. The movement in this project takes on distinct elements of civility. The ordinariness of the situational gesture is, however, apparent. It is a refined concept absorbing the power of everyday ordinariness into a scenic stylization. The choreographer has aligned fateful encounters, the extraordinary and the common into a coherent and compact form where every detail has its own justification and creates the potential for a twist.
The following dance project entitled i – Identity Loss (2018) juxtaposes two worlds: the inner world, which is full of sensations, feelings, emotions, and needs, and the outer one, full of information. The author asks questions that become urgent with the aggressiveness of communicative destruction. To what extent can we perceive and respond to everything that speaks to us? And what is our identity – our authentic identity – in all of this? Overload of information often leads to apathy or stress and subsequent collapse, and the resulting need to control, news googles, smart tick, reality disorders, etc. – this all creates new defects that arise along with the need to know about everything. And at the same time, she asks an urgent question: what else do we know about ourselves?
The shift of personal communication to the world of technology and virtual reality has not only changed the way of communication, but also the form and content of contact. The choice of words has changed, their very meaning has shifted. The simplification of expressions, their standardization and universality in the production erode the content integrity of communication. Such distortion is carried back into personal contacts. In Zuzana Burianová and Michal Freriks’s choreography, words are abused and emptied into meaninglessness before they become part of a mechanical vocabulary of movement. The Slovak diction loses its meaningfulness and takes on an exotic Japanese accent. The same shift occurs in the dance expression. Deviations from the safety of schematics are a flaw in the running program of controlled self-destruction and bring along a valuable and honest opinion. The dramaturgical line of the project follows the scheme of computer games. Their formal rules become a constraint in which the performers try to exchange their feelings or reflect on their lives at the moment.
In her projects, Burianová has used fast alternation of dance images whose rhythm is reminiscent of film editing. This allows the choreographer to build a rich situational system in which the selected themes are transformed into symbolic movement, mixed with everyday situations and pragmatic gestures.
- 2001 – Apple (duet with a boy with Down syndrome and a trumpet player), conceived, choreographed, and directed by: Zuzana Burianová. Premiere: Synagogue, Liptovský Mikuláš
- 2002 – Uncaught, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Puppet Theatre Žilina
- 2004 – The Best of Now, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Labyrinth Centre, Žilina
- 2007 – The Way You Walk, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Labyrinth Centre, Žilina
- 2007 – It’s Us, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Dance Theatre of Alternatives, Žilina
- 2007 – If Only a Word, Concordia University Montreal, choreography: Zuzana Burianová. Premiere: Concordia University Montreal, Canada
- 2007 – 9+2, Concordia University Montreal, choreography: Zuzana Burianová. Premiere: site-specific project, Montreal, Canada
- 2008 – Dialog Contenco, choreography: Zuzana Burianová. Premiere: Poitiérs, France
- 2008 – Trasos, choreography and interpretation: Zuzana Burianová, Carmen Ruiz. Premiere: International Jazz Festival of Montréal, Montreal, Canada
- 2008 – Se di sede mi, Concordia University Montreal, choreography and interpretation: Zuzana Burianová, Carmen Ruiz. Premiere: Concordia University Montreal, Canada
- 2009 – Diaries, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Žilina-Záriečie Station
- 2012 – Expectations, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Žilina-Záriečie Station
- 2013 – Dandó, Ján Levoslav Bella Conservatory, Banská Bystrica, choreography: Zuzana Burianová. Premiere: Žilina-Záriečie Station
- 2013 – Egoland, Ján Levoslav Bella Conservatory, Banská Bystrica, choreography: Zuzana Burianová. Premiere: Žilina-Záriečie Station
- 2014 – Conversations, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Žilina-Záriečie Station
- 2016 – Showdown, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Žilina-Záriečie Station
- 2007 – The Thirty-year Journey, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Puppet Theatre Žilina
- 2016 – And so, choreography: Jaro Viňarský, Mathew Roggers, Kamil Mihalov, Zuzana Burianová. Premiere: Žilina-Záriečie Station
- 2017 – Framing, Dance Theatre of Alternatives, choreography: Zuzana Burianová. Premiere: Žilina-Záriečie Station
- 2018 – Indigo, New Space, directed by: Katarína Brestovanská, choreography: Katarína Brestovanská, Lukáš Bobalík, Zuzana Burianová. Premiere: New Cvernovka Bratislava
- 2018 – i – Identity Loss, Dance Theatre of Alternatives, choreography: Zuzana Burianová in collaboration with Michal Freriks. Premiere: Žilina-Záriečie Station
- 2007 – Speech of a Breath, site-specific project, directed and choreographed by: Zuzana Burianová.
- 2007 – The Way You Talk, Concordia University, Montreal, Canada, choreographed and directed by: Zuzana Burianová. Premiere: Concordia University, Montreal, Canada
- 2010 – Diaries, TDA ensemble and guests, choreographed and directed by: Zuzana Burianová. Premiere: Dance Theatre of Alternatives, Žilina
- 2010 – Voices of the Body- research on improvisation, Žilina-Záriečie Station, directed by: David Butula, dancers: Daniel Raček, Markéta Vacková, Zuzana Očenášová, Zuzana Burianová
- 2012 – Showdown, Žilina-Záriečie Station, choreographed and directed by: Zuzana Burianová in collaboration with DogDocs
- 2012 – Ľuboš’s Regression, DogDocs, Bane Bankov, directed and choreographed by: Zuzana Burianová, DogDocs, creative team
- 2013 – Tragoolater, Ján Levoslav Bella Conservatory, Banská Bystrica, choreographed and directed by: Zuzana Burianová. Premiere: Ján Levoslav Bella Conservatory, Banská Bystrica
- 2013 – The Conflict of Apathy, Studio Matejka and Milan Kozánek, choreography: Zuzana Burianová. Premiere: New Space, Bratislava
- 2017 – When the Heart Beats Right, Nitra BD, directed by: Zuzana Burianová, Peter Kotrha, choreography: dancers of the Nitra Conservatory. Premiere: BD Nitra