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The last premiere of the 2024/2025 season at the National Theatre Ballet was the triple bill Sarcasms, named after Hans van Manen's central duet, which in turn was named after Sergei Prokofiev's accompanying composition. 

During the three-day “Reflections & Reflections – On the Future of Debate Culture” programme at the Berliner Festspiele, Emanuel Gat unveiled Freedom Sonata (2024), a work that navigates, both literally and conceptually, the fragile boundary between order and the pursuit of freedom.

We met with world-renowned choreographer and versatile artist Jiří Kylián, whom I know personally, to talk about the upcoming unique event Kylián Festival: Wings of Time, which is being prepared in Oslo, Norway (May 29–June 14). We also discussed the perception of the passage of time, life, and death. 

Have you ever wished to see the unconscious dance? Have you ever wondered how Sigmund Freud's ideas about the drives and instincts stored somewhere in the depths of our psyche could be expressed through dance?

He has been described as a dancer with the body of a Greek god and the aura of a movie star. He has reached the highest of the highest in the ballet world, and he has done it all, as it were, with grace, a disarming smile and without breaking a drop of sweat. 

Loneliness, fear and moon dust. Prague's Švandovo Theatre hosted the internationally acclaimed mime and choreographer Radim Vizváry for the umpteenth time. 

A guest of the Berliner Festspiele Performing Arts Season, the Israeli Batsheva Dance Company presented Ohad Naharin’s MOMO (2022), a non-narrative, mesmerising piece, strongly characterised by duality.