Ofra Hoffman was born and grew up in Israel. From an early age she was passionate about the arts of the stage, and in particular: theatre music and dance.
She began her theatre studies at the Art high school in Jerusalem, this was followed by classical voice training. During her studies she was introduced to the art of Corporeal Mime, created by the great Master Etienne Decroux. In 1991 she left Israel to follow her passion.
She traveled to Paris, France where she studied between1992-95 the art of Corporeal Mime from the last disciples of Etienne Decroux, Ms. Corinne Soum and Mr. Steven Wasson, at their school: L'ecole de Mime Corporel Dramatique De Paris. She continued her vocal studies with Mr. George Roiron. She also followed theatre and body movement workshops. (To name few: Mr.Thomas Lebhart, Mr. Ivan Baccioci and others.)
Her first encounter with the art of Bharatanatyam was in Paris, she began her first steps with Shalini (disciple of M.K.Saroja and of Vidhya) and then with Malavika (disciple of Guru K.G. Ellapa Mudaliar and of VS Muthuswami Pillai).
In order to continue her studies, Ofra traveled to, Chennai, INDIA, and began sharing her life between three cities, in three different continents- Chennai, Paris, and Tel Aviv. During her stay in Chennai in 2005 she was introduced to the one who will become her guru- Kalaimamani Kuttalam M.Selvam.
After several visits for intense studies with him she receives in 2010 an ICCR (Indian Council for cultural Relations) scholarship and moved to Chennai.
During her stay in Chennai Ofra was trained under her guru in dance and Nattuvangam (The art of conducting a classical Indian dance recital. The studies of nattuvangam develops the deep understanding of the rhythm and tempo and are very important for the understanding of the choreographic structure), she learned Abhinaya (the narrative aspect of the dance) from the great Mrs .Bragha Bessel, and carnatic vocal music from Mrs. Anuja Rajasimhan.
In 2011 Ofra presented her Arangetram, (a ceremony that symbolize the passage from the state of a student to a stat of a dancer. Hence this ceremony is an important stage for the dancer and the Guru.)
Along with her studies, Ofra performs in Israel and abroad and continue her researchers in the field of creation. She performs works inspired by the Indian dance, as well as traditional programs. She takes the challenge to stimulate interest and curiosity about Bharatanatyam, an unknown art in Israel, in the hearts of her audience. This challenge brings her to cooperate with artist of different fields- musicians, actors, and visual artists.
Among her productions:
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2015-16:
Production of the film MASTER, a documentary about the art of her guru M.Selvam. (first screening on May 2017 for the third edition of the festival Mouvement Emouvants established and orgenized by Mahina Khanum.
Bharatanatyam programme conducted by guru M. Selvam, French Alliance of Chennai.
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2014:
Delhi International Art Festival, The many moods Solo at Epicentre amphitheatre, Gorgaon
Bharatanatyam programme at au centre Mandapa, Paris.
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2013:
Two Solos inspired by Corporeal mime and Indian dance:
The Paper and The Many Moods for the International Mime Festival, Chennai, Narada Gana Sabha main hall
2012:
Group performance conducted by guru Kuttalam M. Selvam and his musicians, Pattukkottai Temple, Thanjavur district, Tamil-Nadu.
Solo performance conducted by guru Kuttalam M. Selvam and his musicians, Sri.T.N.Rajarathnam Pillai Auditorium, Chennai.
2011:
Solo performance conducted by guru Kuttalam M. Selvam and his musicians, Dakshinamurthy hall, Chennai.
2010:
Bharatanatyam Dance solo performance in the Indian Embassy of Berlin.
Smiling to Shiva a short piece for the Eu-Art international symposium, Cselly Muhle, Austria.
2007:
"Dance from the region of Lotus" a Bharatanatyam solo for the International Spring Festival, Rishon Le Zion , Israel.
2004-7:
"The Heads" – a short play by Ofra Hoffman and Ruti Tamir for the Tzavta theatre festival for short plays, Tel Aviv. ‘ A tragic comedy about existence with no exit ‘ Written and performed by: Ruti Tamir, Ofra Hoffman Directing and dramaturgy: Eyal Nachmias.
Adieu Solo inspired by: Rachmamaninoff: prelude in c sharp minor, and Rani Calderon: Etude in D flat major, to the life piano interpretation of Rani Calderon for Tzavta dance festival.
2003:
Pance Naryaha or five ladys' Bharatanatyam solo performance around different aspects of feminity.
2000:
Pushpanjali a duet with Raphael Masilkar, kuchipudi dancer, Susan Delal center, Tel Aviv.
Honey or poison, a solo inspired by ancient English poems for the "Maholacher" festival, Suzan Dellal Tel Aviv.
Point(s) of view
…While searching for an on-stage language which incorporated the elements of dance and drama, movement and theatricality, music and poetry, and keen to meat different approaches besides my knowledge of western theatre and dance, I did my first Tat adavus in Paris. Extremely moved, charmed and actually in love with the beauty, the diversity and depth of this art form, and amazed by the style of Sri Muttuswamy Pilai taught to me by my teacher Malavika, I traveled to Chennai, India to continue my studies there.
I was and am blessed and lucky to be guide by my great guru M.Selvam. He teaches me dance and rhythm, along with perseverance and dedication. He introduced me to his free mind and his great creativity, and encourages me to follow my own imagination.
It is this magic feeling of wonder and joy that I felt and always feel to this art form that gives me the fervor to dance.
From the press:
...Ofra Hoffman hypnotizes us with her grace and her perfect theatre acting. In her performance she combines traditional choreographies and original creations. The devotion is very present in her dance…...
Chantal Ostorovitch, Jerusalem post, 2.1.2007, Israel
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Ofra Hoffman à Mandapa, Paris 2012/14
…The dancer had beautifully evoked the meeting between her, the heroine, and her lover. I was astonished to realize that the meaning of her dance was understood by me as if it was an open book, I found her narration clear and limpid…
…the item I liked the most was the Alarippu, which means: blossoming. The interpretation of the dancer was not only figurative, but literal as well…it was splendid!...
- Joël Riou
http://jriou.org/blog/00979.html
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