Tatiana Spivakova is an artist of Russian-Armenian origin. She is an actress, director, author, and musician. She first trained in music—studying singing and classical dance at the Conservatoire municipal Francis Poulenc—before playing the flute and earning a diploma from the CNR of Aubervilliers. She also studied art history at the École du Louvre. At the same time, she trained in acting at Cours Simon, then at the Classe Libre of Cours Florent, and at the Conservatoire National Supérieur d’Art Dramatique in Paris, where she spent a year at LAMDA (London Academy of Music & Dramatic Arts).

Tatiana is a polyglot, she is bilingual in Russian, Spanish, French, and English, and also speaks some Armenian. This linguistic ease has enabled her to take part in numerous international projects, particularly at theatre and music festivals around the world.

Always closely connected to the musical world, she served as author and narrator for the opera Carmen, conducted by Jean-Christophe Spinosi, in Valladolid, at the Brest Arena, and at the Opéra Royal of the Château de Versailles. She also took part in Eugene Onegin as well as Berlioz’s Harold in Italy at the International Festival of Colmar.

In London, she met the artist and director Yorgos Karamalegos, with whom she formed a deep friendship. She became an associate artist of his company – Physical Lab – a methodology inspired by major thinkers of movement such as Yoshi Oida, Pina Bausch, and Lorna Marshall. This approach invites performers to embody a state of presence by deconditioning the body from its habits in order to cultivate greater freedom on stage, as in life. Today, this tool forms one of the foundations of her work, which she applies both in her own creations and in workshops she leads across Europe.

As an actress, she has performed in Jacques ou la soumission by Eugène Ionesco, directed by Paul Desveaux; ’Tis Pity She’s a Whore by John Ford, directed by Frédéric Jessua; Hôtel Feydeau by Georges Lavaudant at the Théâtre de l’Odéon; Never, Never, Never by Dorothée Zumstein, directed by Marie-Christine Mazzola; Ô Nuit, ô mes yeux by Lamia Ziadé, adapted and set to music by Bachar Mar-Khalifé; Macbeth directed by Julien Kosellek; Istiqlal by Tamara Al Saadi; and most recently Taire by Tamara Al Saadi, created at La Criée, presented at the Avignon IN Festival, and currently on tour.

Equally fascinated by directing, she created Lisbeths by Fabrice Melquiot at the Théâtre du Marais (winner of the Best Female Performance Award at the Passe-Portes Festival). She then translated and directed The Lower Depths by Maxim Gorky at the CNSAD, followed by The Just by Albert Camus at Théâtre de La Loge and during the Fragments Festival at the Théâtre du Vieux-Colombier in Paris. She later revived Passagères by Daniel Besnehard, for which she added and retranslated poems by Anna Akhmatova, at the Lucernaire in Paris.

She then founded her own company, La Cie Liubov’, and wrote her first play, Your Body – My Land, incorporating excerpts from Mahmoud Darwish. The play received the ARTCENA grant for the creation of dramatic texts. It premiered at the Théâtre Public de Montreuil and was later revived at Nouveau Gare au Théâtre.

On sceeen, she has appeared in several feature films in Georgia, Armenia, and France: In Mid Wickedness by William Oldroyd, Gate to Heaven by Jivan Avetisyan, Même pas mal by Maxime Roy and Jeremy Trequesser, and most recently Miséricorde by the awarded French director Alain Guiraudie, selected at the Cannes Film Festival and nominated for the César Awards.