In dance, even the most acclaimed performances quickly become distant shadows in the past. How can we retain – or reclaim – what once was?
Marina Srnka (Serbia, 1996) graduated from the Erasmus Mundus master’s programme CLE - Cultures Littèraires Europèennes with a double degree from the universities of Bologna and Strasbourg. Her main interest and specialisation lie in the intersections and inter-connections between the arts, cultural history, and science. Her research has been mostly oriented toward poetry, dance, gender problems, mental health and physical difficulties.
During the years she shaped profound interest in dance and performative studies investigated from various aspects. This also became the leading point of her future studies. She published several critical essays, reviews and interviews both in Serbia and Italy, and parallelly participated in organisation of theatre and performing arts festivals, volunteered in art projects, and frequented amateur dance classes and performances. Beside that, she is also a photographer and a poet.
Opera Ballet Vlaanderen’s 23/24 season commenced with a double bill combining a première of Richard Siegal’s brave but inaccessible New Ballet mécanique with the critically acclaimed showstopper Half Life by Sharon Eyal.
What does it mean to be radical today? At the vanguard of the Belgian contemporary dance scene, STUK might be as good a place as any to check the temperature.
On the evenings of the 29th and 30th June at the Montpellier Danse Festival, Anne Martin, Pina Bausch Dance Company soloist from 1979 to 1991 and later a teacher at CNSMD in Lyon, presented Umwandlung – her first solo dance piece at the tender age of 68.
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.
What do a dinosaur, carcinogenic building materials from the 1970s, and a wind turbine have in common? In the mysterious mind of Greek director, performer and film-maker Euripides Laskaridis...
Trajal Harrell, the 2018 Tanz magazine dancer of the year, has been the artistic director of Schauspielhaus Zürich Dance Ensemble since 2019. His largest dance piece to date has been running at the Schiffbau-Halle since 2021.
The long-serving artistic director of Ballet Zürich, Christian Spuck, is moving to the Berlin State Ballet next season. This winter, Zürich theatregoers join Spuck’s dancers and the Philharmonia Zürich for a grand farewell.
J’ai pleuré avec les chiens (TIME, CREATION, DESTRUCTION) performed in Bergen during the Oktoberdans festival, is Canadian choreographer Daina Ashbee’s first ensemble dance piece.
The anecdote unfolds something like this: At the premiere of his Bolero, Ravel was surprised and somewhat annoyed by the enthusiastic acclamations his piece had received, crediting its success to the obsessive quality and sexual undertones of the work.
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