DANCE

I have been preparing podcasts for Taneční aktuality for a couple of years now. I'm currently finishing up the Young Blood series, in which I try to show what problems dancers face at the beginning of their careers. For this discussion, I wanted to invite a National Theatre dancer.

Throngs of eager spectators have lined the steps of Paris theatres in recent months, while last minute ticket seekers display homemade signs—often in vain—hoping to access sold-out performances. 

Guten Tag, dear reader.
This year we were in Germany for the 2024 edition of the Spring Forward Festival, which took place from 21 to 23 March. On the programme? A discovery of twenty creations by young choreographers...

Dieter Graefe, former Administrator of the Stuttgart Ballet and holder of the rights to John Cranko’s ballets, passed away in Stuttgart on Saturday, April 20.

Earlier this week we issued a press release on our Czech website about the departure of Spitfire Company, Temporary Collective and tYhle from PONEC Theatre. This marks the departure of stalwarts of the scene that have largely shaped the image of its repertoire. 

The ability to raise funds for artistic activity outside the grant system increases the level of freedom and independence. But does one have to be born a fundraiser or can one become one? 

The Baltic Opera in Gdańsk stages Coppélia by Léo Delibes in a new version. Johan Kobborg, an internationally acclaimed and award-winning Danish choreographer, was invited to collaborate on this production.

UniVerse: A Dark Crystal Odyssey is one of the latest works by the UK choreographer Wayne McGregor and his Company.

One of the first ballet premieres of the new year took place on the stage of the Moravian Theatre in Olomouc and it was a truly world-class event. 

Approximate Sonata 2016 (1996, 2016), One Flat Thing, reproduced (2000), and Blake Works I (2016) are the pieces by star choreographer William Forsythe that were premiered by Staatsballett Berlin. 

The Czech National Ballet will offer the world premiere of the original ballet The Sun, the Moon and the Wind choreographed by Viktor Konvalinka, the world premiere of the original ballet Sheherazade by Rimsky-Korsakov choreographed by Mauro Bigonzetti.

In dance, even the most acclaimed performances quickly become distant shadows in the past. How can we retain – or reclaim – what once was?