Summer Intensive

Artistic Director

Born in Russia, Natalya Nikolaevna Getman, studied the Vaganova method under Musaeva, National Artist of the Soviet Union, who had direct link through her teacher to Agrippina Vaganova. Trained at the Vaganova Academy by Kovaleva and graduated with honors from the Uzbek Choreographic School.

Throughout her professional career she danced different principal and soloist roles at the Turkmenistan State Theater of Ballet and Opera after which she joined the Moscow Ballet where she continued her career as a soloist. After several years of touring around the world with the Moscow Ballet, including places like the United States, Turkey, Spain, Israel, and China, Getman decided to settle in the United States.

Inspired by a deep respect for the American way of living, she embarks on the mission of combining the best of that culture with the beauty and logic of Russian ballet to form a new generation of dancers capable of facing the high requirements of current dance.

Her unrivaled talent and experience in choreographic and stage composition, as well as her empathy and charisma, integrate the trademark of her teaching, which reaches and lasts beyond the classroom, forming upright, committed, ethical and generous artists.

Svetlana Todinova was born in Yadrun, Russia just outside of Moscow and in 1997 completed formal training at the Ufimsky Choreography School, now named the Rudolph Nureyev Russian State Ballet Academy.

Upon graduation, Todinova joined the Krasnodarsky Musical Theater troupe of the Bashkiria Theater where she danced for Yuri Grigorovich. In 1999, she joined the National Academy of Theatrical Arts or “GITIS” with which she toured internationally. In 2006 Todinova was invited to join the Crown of Russia Ballet Company as a soloist, again touring internationally.

Her repertoire includes Don Quixote, Sleeping Beauty, La Bayadere, Carmen, Swan Lake, The Nutcracker and more. She danced with the Moscow Ballet since 2001 and is Moscow Ballet’s Audition Director. In 2011 Svetlana led Moscow Ballet Summer Intensives. Following this, Svetlana joins her colleagues for the 60 cities North American tour of Romeo and Juliet and the Great Russian Nutcracker. She’s been part of BBT’s Summer Faculty for the past 2 years.

Vladimir Kuzkin was born in Tashkent, Uzbekistan. Vladimir was chosen to attend a pre-professional performing arts school, where he studied choreography, music, ballet and character dance for two years. He was then selected to attend a professional ballet academy in Uzbekistan, where he studied dance for eight years.

Upon graduating, Vladimir joined the Russian Ballet Twenty-First Century company in Moscow, Russia, where he performed both in the corps de ballet, and as a soloist. Over the course of the next decade, Vladimir was invited to perform with numerous professional ballet companies in Russia, some of which toured in the United States, like the Moscow Ballet.

He's been part of BBT's Summer Faculty for the last 7 years.

 Mexican actor, creator, and dancer, Guillermo Franco graduated from the International School of Theater Creation and Movement CABUIA in Buenos Aires, Argentina.
His first contact with the stage world happened through musical theater, where he was attracted to the possibility of training in dance, acting, and singing, simultaneously. He completed his training at the Artestudio Performing Arts Center in Mexico City, where he developed a strong attraction to classical dance.

Starting in 2016, Guillermo began to collaborate as a dancer and actor with Bossov Ballet Theatre in productions such as Don Quixote, The Nutcracker, Giselle, and Swan Lake. He participated as Stage Manager in BBT's productions of The Nutcracker 2018 and 2019 at the Waterville Opera House and as Physical Theater Instructor in the last five BBT's Summer Intensives. In 2022 he joined BBT as the Program Manager.

His strong interest in personal and spiritual growth has led him to dig into Depth and Transpersonal Psychology for more than 15 years, which echoes in his interest in the psychophysical implications of the process of theatrical personification.