When the first wave of the Covid-19 pandemic hit Europe in March 2020, the South Bohemian Theatre ballet company was busy rehearsing Petr Zuska and Štěpán Benyovsky’s new ballet Radio Free Cunning Little Vixen.
Josef Bartoš is a dance writer and editor-in chief in Taneční aktuality. Graduated from Duncan Centre conservatory got his MA in Dance Studies from the Academy of Performing Arts in Prague, where he is studying for a PhD, furthering his interest in psychological aspects of dance. He teaches History of Dance and Theatre, Production and Managements Basics and Diploma Seminar at the said conservatory.
David Hinton: “The way you make a good dance film is not by simply filming a good piece of theatrical dance.”
Dance Film Festival Prague is going to happen in May, but organisers of this event already have now prepared a little teaser for its audience.
Petr Zuska on postponed première of Radio Free Cunning Little Vixen: “Creating a choreography to spoken word in specific and tricky.”
The preparations of the production of Radio Free Cunning Little Vixen were cut short by the COVID-19 pandemic days before the première.
Christian Spuck commenting on Czech premiere of Leonce & Lena: „I changed myself and that is why my point of view of the piece changed too.”
Ballet company of the National Theatre in Prague prepared two premieres in one month.
Resurrection. That is what we can call the current events around the Prague Chamber Ballet. The company, which was founded in the mid-1960’s, enjoys certain sentiment from Czech audiences who keep the company going.
Mário Radačovský, a Slovak native and the current artistic director of the Brno National Theatre ballet, has been the head of the second biggest Czech company for five years.
The latest ballet premiere at the National Moravian-Silesian Theatre in Ostrava is another well-thought-out move of the ballet company’s artistic director Lenka Dřímalová.