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On a rainy day in February, crowd of spectators gathered in Ponec Theater to watch the solo performance of an actress and mime Anna Polívková called Pan Padlý, which followed after the rerun of the VerTeDance new project Jaja and Papus choreographed by Tereza Ondrová for Veronika Kolíková-Knytová and Robert Janč.

On a rainy day in February, crowd of spectators gathered in Ponec Theater to watch the solo performance of an actress and mime Anna Polívková called Pan Padlý, which followed after the rerun of the VerTeDance new project Jaja and Papus choreographed by Tereza Ondrová for Veronika Kolíková-Knytová and Robert Janč.

The F.X. Šalda Theatre in Liberec prepared a premiere of the ballet called Marie Antoinette / Marquis de Sade in March. The author of the libretto and a director and choreographer Gustav Skála decided to interconnect a story of two historical characters mentioned in the name of the staging in one performance where he uses music collage from works by A. Salieri, F. Devienne, M. Clementi, J.P. Rameau, J.N. Hummel, G. Paisiello and B. Bartók. Therefore a staging with two acts and twenty four scenes originated. The gloomy acts with Marquis de Sade alternate with the scenes from the life of Marie Antoinette.

The F.X. Šalda Theatre in Liberec prepared a premiere of the ballet called Marie Antoinette / Marquis de Sade in March. The author of the libretto and a director and choreographer Gustav Skála decided to interconnect a story of two historical characters mentioned in the name of the staging in one performance where he uses music collage from works by A. Salieri, F. Devienne, M. Clementi, J.P. Rameau, J.N. Hummel, G. Paisiello and B. Bartók. Therefore a staging with two acts and twenty four scenes originated. The gloomy acts with Marquis de Sade alternate with the scenes from the life of Marie Antoinette.

The Miniatures performance that is almost a permanent guest on the repertoire of the National Theatre shows members of its ballet ensemble from another point of view because it provides some of them with possibilities to test their choreographic ambitions on the stage of the Estates Theatre. They could do so on Wednesday, 4th March when the audience could judge their strive in ten choreographies; this is a very nutritious and almost an indigestible portion.

The Miniatures performance that is almost a permanent guest on the repertoire of the National Theatre shows members of its ballet ensemble from another point of view because it provides some of them with possibilities to test their choreographic ambitions on the stage of the Estates Theatre. They could do so on Wednesday, 4th March when the audience could judge their strive in ten choreographies; this is a very nutritious and almost an indigestible portion.