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In its third week, the TANEC PRAHA festival presented two personalities of contemporary European choreography: the Belgian Jan Martens and the Irish Oona Doherty. 

It has become almost a tradition that the Losers Cirque Company, in the late spring days, with a bridge to the holidays, settled next to the BRAVO! Theatre in the area of the Convent of St Agnes of Bohemia in Prague's František district.

The Nultý bod Festival, which celebrates its 15th anniversary this year, will spend its celebration by relaxing. In Prague, the festival regularly fills the cultural programme in July and offers innovative performances of contemporary foreign and Czech works...

Sasha Waltz's pieces are touring the world from Berlin, her current home base. The last visit to the Czech Republic by this petite lady, who recently celebrated a significant anniversary in her life, was in 2015 when her Impromptus opened Tanec Praha festival.

The last premiere of this season for the Czech National Ballet in Prague was rather unexpectedly the romantic La Sylphide. Replacing the originally intended programme of George Balanchine's Who Cares? and Brahms - Schönberg Quartet. 

In the West, especially in the United States, programmes made entirely of George Balanchine's works are very common. In the Czech Republic, however, until this year no ballet company had ever staged a similarly composed evening. 

The celebration of twenty years of its existence will begin with a unique tribute to the new circus. The opening performance is free to the public and will be shown only twice - on 16 and 17 August.

As Dancing Pina opens, a camera towers over a performer lying face down on a studio floor. Delicately inching her forearm along the ground, the dancer is scrutinized by Malou Airaudo, who intervenes with agitated intensity.

Romanian-born prima ballerina, former principal dancer of The Royal Ballet and lead principal of English National Ballet, Alina Cojocaru, was awarded the Order of the British Empire (OBE) in April this year for her services to ballet.

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?”