Josef Bartoš

Every year, the month of May in Madrid is marked by the city’s largest festival, Madrid en Danza. Under the direction of Blanca Li, this year saw the 39th edition, featuring over twenty productions across various locations in the Madrid region.

Earlier this week we issued a press release on our Czech website about the departure of Spitfire Company, Temporary Collective and tYhle from PONEC Theatre. This marks the departure of stalwarts of the scene that have largely shaped the image of its repertoire. 

There is an artistic anarchy in the PONEC Theatre. On the last day of November, the position of artistic director, which had been held for two years and three months by Markéta Perroud, was abolished. 

Jonathan Gray was the last editor-in-chief of the world-renowned magazine Dancing Times. Unfortunately, after the coronavirus pandemic, the magazine announced its closure with the issuing of one last edition in September 2022

Teatros del Canal in Madrid hosted the company of the well-known French choreographer Olivier Dubois. He brought a new version of his decade-old performance Tragédie, subtitled New Edit, to the Spanish capital.

At the beginning of October, the National Theatre Ballet published the following on its Facebook profile: “Dance Europe magazine has announced the CRITICS' CHOICE poll.” 

At the beginning of October, the Teatro Real in Madrid hosted a premiere called Pura Danza (Pure Dance) put together by Spain's leading ensemble Compañía Nacional de Danza and its director Joaquín de Luz. 

The Zero Point Festival brought to Prague the work Tanzanweisungen by German choreographer Moritz Ostruschnjak  shortly after the same piece was presented at the Flora Theatre Festival in Olomouc.

Mid-June saw the premiere of the recent multi-genre project Commander performed by the Czech dance and theatre company Farm in the Cave.

In early April, the Czech National Ballet presented this season’s last premiere bpm. The abbreviation should stand for beats per minute, which is a term referring to the heart rate or rhythm of a music piece. 

Studio ALTA has come up with a new “pay what you can” admission system. The audience can now choose from five price offers regardless of the seat they end up occupying. 

Ostrov! (Island!), the new creation by Jana Burkiewiczová, provoked an unexpected reaction in me: I had to return to La Fabrika the very next day since I felt like having missed something very important.