Johan Kobborg, a long-time principal dancer of the Royal Danish Ballet, and especially of the Royal Ballet in London, is spending the past few weeks in Prague with the Czech National Ballet, where he is staging his production of La Sylphide, following the romantic legacy of August Bournonville.
Each year, performers from all around the world gather in the Serbian capital for the Belgrade Dance Festival. Under its slogan Together, We Celebrate Dance, the festival celebrates its 20th anniversary this year, offering theatregoers a selection of new and old names during the month-long festival.
When the train leaves the station in Prague, I already start to imagine the bodies of my fellow critics from the three days spent together at a workshop and panel talk on dance writing at the Czech Dance Platform festival.
Nederlands Dans Theater (NDT 1), one of Europe’s most prominent dance companies, paid a visit to London last April. Sadler’s Wells theatre hosted their triple bill, featuring two newer works, premiered in The Hague last year, and one “classic” by the former longstanding director of the company Jiří Kylián.
The critic has never been a particularly popular person. In his poem Rezensent, published in 1774, Johann Wolfgang von Goethe writes: ‘Schlagt ihn tot den Hund! Er ist ein Rezensent.’ (‘Beat the dog to death! He is a reviewer.’).
I, like many other writers, suffer from imposter syndrome. Before every pitch email I send, show I attend, or interview I conduct, I ask myself: “is anyone really interested in little old Emily May from Worcestershire’s opinion on this?”
Messa da Requiem is a 2016 piece created by German choreographer Christian Spuck for Ballet Zurich based on the well-known music by Giuseppe Verdi.
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In early spring, Prague traditionally hosts Czech Dance Platform, a showcase of “the most interesting Czech contemporary dance and movement theatre.”
Only two years ago, there were quiet salon discussions about artificial intelligence, which seemed to be something mysterious and far from reality.
Jean-Christophe Maillot's version of Cinderella returned to Prague. A new generation of dancers from the National Theatre got the opportunity to perform in an unusual take on the well-known story.
The National Moravian-Silesian Theatre Ballet Company has long amazed its audiences with its courage to present not only classical ballet titles but also famous contemporary choreographers.
The Moon Wears a White Shirt – Vienna’s Classical Ballet Company Enchants with a Versatile Triple BillReviews