Anelia Yaneva
Papers of BAS. Humanities and Social Sciences
Vol. 13, 2026, No. 1
The ballets of ‘Arabesque’ in the triple translation
between literature, choreography, and multimedia
Anelia Yaneva
Abstract. Travels through the centuries, millennia-old cultural and historical codes, and their projections on stage are offered by the ballets of the Arabesque Dance Company: ‘Siddhartha’ by Hermann Hesse choreographed by Mila Iskrenova (2017); ‘The Divine Comedy’ by Dante Alighieri, choreographed by Asen Nakov (2024, entitled ‘The Dante Secret’); and two productions by Boryana Sechanova – ‘Adoration and Violence – Variations on the Theme of Mozart’s “Don Giovanni”’ (2007), based on Molière and Pushkin, and ‘The Galatea Effect’ (2022), based on Efemia Fard’s play of the same title and ‘Pygmalion’ by Jean-Jacques Rousseau. The choreographic interpretations are by no means copies of the literary originals, but rather new readings that transform the setting, characters, and relationships, embellished with multimedia elements that often offer their own interpretations of the events.
Keywords: choreography, directing, ballet, dance theatre, multimedia
Papers of BAS. Humanities and Social Sciences
Vol. 10, 2023, No. 1
Structural shapes and patterns of choreographic direction
in the art of ballet (19th-21st centuries)
Anelia Yaneva
Abstract. The text reveals various constituents of choreographic direction: structure of dramaturgy, construction of conflict, dominant dance forms, genre features and changes in genre characteristics. The aim was to derive recurring principles that would form patterns of choreographic direction. This analysis is based on works from the 19th century - romantic and classical ballets, and created in the 20th and 21st centuries - drama ballet, dance theatre and total dance theatre.
Keywords: choreography, ballet directing, ballet, drama ballet, dance theatre
Papers of BAS. Humanities and Social Sciences
Vol. 9, 2022, No. 1
‘Nijinsky’ by John Neumeier: Present, past and even earlier time
Anelia Yaneva
Abstract. In search of general directorial and choreographic techniques, two of John Neumeier’s step-by-step works are analysed - “Nijnsky” and “The Lady of the Camellias”, in which the author makes intriguing references between different time layers - present, memories, roles in the ballet “Nijinsky”; the novel of Alexander Dumas fils and “Manon” by Abbé Prévost in the ballet “The Lady of the Camellias”. Through the interactions between past and present, between the protagonist and his visions, Neumeier builds a new model of choreographic directing.
Keywords: choreography, ballet directing, dance, ballet, dance theatre