Since time immemorial, mime has been a discipline that allows fluid and dynamic transitions from one genric or dramatic territory to another, including a completely individual, newly created iteration. Its universal expressive ability to convey stories and feelings is based in physical expression, more specifically, meaning-making movements, gestures, and mimicry.
If we were to focus on the artistic output within Czech ballet, the previous season did not stray from the long-term trend. However, it was pleasing to see a greater share of original full-length pieces, specifically by interesting artists operating abroad.
The identity of deaf people is often constructed by the hearing public and professional medical community on the basis of hearing loss, deafness, and disability. This view subordinates the Deaf community from majority society. But if we look at deaf identity through a cultural prism, we can view it in a more positive light.
Researcher self-reflection is an integral part of fieldwork, as well as of the process of writing the text itself. In connection with time spent in the field and the use of diverse methods, the researcher reflects on their own position and identity.
Dance can be the antithesis of a clock. Dance can teach us that time is not separate from the body. In fact, the moving body is rather a reminder that time and space are always in a dance. And the dance never stops, but it also never begins. One can tap into this dance, the same way that one can tap into a rhythm.
In the 2024/2025 season just passed, in addition to those projects by large ensembles celebrating various anniversaries of their existence, the fields of contemporary and new circus, physical theatre, mask and mime could be characterised as a platform open to the sharing of creative processes.
