There is nothing living in this room, only us, resilient furniture. At best, we are the props of your daily routine: practical, and comforting.
In the edition celebrating its maturity, the Letní Letná festival was generously dedicated to Czech contemporary circus productions.
“Mummy, write that it was amazing!” urge both my children (4 and 6 years old), who I took with me as a litmus test for Paper Story – the first production by Laterna magika under new creative direction.
Thirty years ago, on 22 February, we said goodbye to Ladislav Fialka and shortly after, to his mime group at Divadlo Na Zábradlí (Theatre on the Balustrade).
Radim Vizváry: "I’d love to revisit the idea of Mr Radok and Mr Svoboda that Laterna magika is a multimedia theatre and a space for experiment.“
A half a year ago, Radim Vizváry was invited for collaboration by Laterna Magika, initially to represent the Czech Republic at Expo and create a brand-new piece, and eventually to become Laterna’s artistic director.
In response to the government measures implemented this spring and largely restricting the existence of live culture, the companies Cirk La Putyka and HEAVEN’S GATE decided to remain active.
The 9th Mime Fest, festival of mime theatre in Polička near Svitavy, will not welcome international participants this year due to the pandemic.
Dancers and dance artists are not used to publicly voicing their complaints. Maybe that is why they are not heard so often and are among the few who do not lament over the present crisis.
On 9 April 2020, the Czech government approved the first 1.07 billion rescue package in support of the arts and culture. It was presented by the Minister of Culture Lubomír Zaorálek...
Hana Třeštíková, the Prague City Councillor for culture, and the online cultural overview GoOut has launched a nation-wide project to support theatres, concert halls, clubs and artists
In recent months, the debates within the Czech dance industry have become somehow hysterical. Studio Alta, the most progressive Czech production platform...
As is seems, there’s been a growing discourse on the issue of dance criticism recently. What purpose does (or should) dance criticism serve?