Tamara Černá  - Artistic pseudonym SofiG
is a photographer, choreographer, dancer and ballet master. She was born in Ostrava in the family, who came from Austrian Galicia, from Lvov, in the period after the October Revolution. Her name came after a major Czech dancer of Ukrainian origin - Tamara Isičenko. Her father died soon after her birth and Tamara and her older sister grew up just with their mother.
Tamara grew up in an environment very sympathetic to the theater, music, art and art in general. She studied dance from early childhood. When she was six years old she attended a ballet studio in the theater.
Her artistic results convinced her family and they allowed Tamara continue in her studies. When she was about ten years old, the eight year study conservatory was experimentally opened in Ostrava. Tamara enrolled in the study with a focus on classical ballet. She studied at the Conservatory modern dance techniques, folk and gymnastics. At the Conservatory she got general knowledge from other artistic disciplines (visual arts, architecture, music) and she also took a classes of solo singing.
She performed in many ballet productions in the State Theatre in Ostrava even during the eight-year studies at the school. In that period the theatre hosted many important international soloists and ballet choreographers. She remembers her studies with great humility and gratitude, and she is grateful for the opportunities which she got during this period.
In addition to interesting encounters with the world culture in the Ostrava she often traveled and worked with great professionals of Russian and foreign ballet elite.
She says: "I was lucky for the time when one could have education for free. There were lots of seminars, summer schools. You could travel to other countries or guest pedagogues who were willing to work tirelessly with young dancers came to our country. Theatres had friendship with other foreign scenes."
At that time she met and worked with celebrities, such as: Serge Lifar, Boris Bregvadze, Jorge Donn, Irina Karlovna Strode, Aleksandr Lemberg and many more.
Tamara says: "A huge benefit for me was the theater friendship with the Latvian theatre in Riga. Specifically, with Irina Strode. I also worked with many wonderful teachers, both in the preparation of classical ballet and variations, or modern techniques. I had the opportunity to meet many personalities of Czech ballet (Jozef Zajko and Lubos Ogoun) and work with them."
Afterwards Tamara decided to extend her education. She successfully did test GITIS (The Russian University of Theatre Arts). Despite of all interventions, unfortunately she couldn´t go to Moscow due to the political situation. After the Velvet Revolution she took advantage of the favorable political situation and she expanded her education in JAMU (Janacek Music Academy).
After university studies in Brno, she became a soloist in the Moravian-Silesian National Theatre Ballet ensemble where she was interpreting first smaller, but later on a great roles of leading ballet repertoire. She applied her creativity also in the unusual and interesting opera productions. She has an excellent talent to affect the psychology of the characters and she is able to endow the heroine of a deep inward experience, along with high aesthetics and technique of dance. Particular roles are the Anna Karenina and Carmen, Svanilda of Coppélia and also dance productions Eve. She was awarded by several major awards. She was nominated for Thalia Award for her part in stirring Toussaint Mozart's Requiem.
Tamara wrote: "I had to wait a long time for my first soloist contract, but I danced soloist roles also after my graduation in the conservatory. The only difference was that I had to be also a chorus dancer at the same time. Finally I got a great and beautiful appropriate roles and I received the soloist contract. Irina Karlovna Strode worked with me on my first solo roles, first mastering the correct techniques. After some time she transform our relationship and the cooperation changed direction.
She began to reveal things that we previously did not talk about much. She put great emphasis on interpretation. This period was probably the most important for my life. She forced me to learn proven practices of dancers from the past. Finally, she helped me with my teaching. I also taught in the ballet studio, which prepared the youth to the conservatory. The eight-year study in Ostrava was cancelled and the children could enter the Conservatory at age 15! It was too late. Ballet Theater studio replaced the first years of conservatory. Irina Strode selflessly attended my classes, watched me and then we all discussed at length. She helped me also take into account not only the diversity among students, but also external obstacles (heat, cold, fatigue ...)."
Tamara led not only classes of classical ballet in the ballet studio, but she was also a professor at the Janacek Conservatory in Ostrava after the reopening the eight-year education system. At that time she taught for instance Richard Kročil, Natasha Novotna, Radek Slatinský or Peter Munch.
Later on she worked also as ballet master in the same theater, and collaborated with soloists on the interpretation of their roles. She became a ballet master at the age of 26 years! This work was interrupted several times, for example when her beloved son Sebastian was born. Tamara returned to the work when her son was growing up and she continued even after the end of her active ballet career.
She applied her experience from the dance field also as a choreographer. She also worked with the opera ensemble of the Moravian-Silesian Theatre. It´s also worth mention the several foreign tours (Canada, Germany, Latvia and others).
She started to work also as photographer during the collaboration with the theater. Like in their dance roles, in her pictures she tends to show non-violent way of human emotions and dramatic situations of everyday people life. She strongly inclines to show the beauty and humanity. She exhibits her photographs awarded by prestigious foreign prizes at home and abroad.