Tore and Gaia

Dora Hoštová’s Tore is about the old and cruel tradition of bullfighting and about the art of concentration and the combative spirit, which are connected with this dangerous but still very popular tradition. To enter the arena, the bullfighter must be both brave and honest, because the bull instinctively senses any side thoughts and entertainment can soon become a fight for survival. A collage of bullfighting sounds, suggestive lighting (collaboration of Jan Komárek) and the concentrated expression of the dancer gave the audience an opportunity to feel the thrill of the arena. You could almost hear the excited heartbeat of the toreador and the audience.
Dora is well known as a passionate dancer (and her previous choreographies give evidence). This piece is slightly different, Dora’s moves are slow but still physically very demanding. They are accurate and full of energy, which makes Tore genuine. We can see that Dora uses every muscle of her body. In spite of this minimalism of movement, she managed to make the arena dance. She had chosen a practical but authentic costume, which included a read red muleta playing an important role in the choreography. It attracted the bull and when the toreador lost her concentration in a critical moment and the choreography became a fight for survival, it symbolized the red of blood. Apart from being a thrilling spectacle, Tore also reminds us of the ancient tradition, which is still lives strong and it is an inseparable part of the southern culture, and that is the reason which thrills the audience.

Dagmar Chaloupková’s Gaia symbolizes mother earth in various metaphorical expressions. The central character is the mythical Gaia – the Earth. A mysterious place that gives home to millions of living creatures and also a place from where the moon can be seen. But compared to the endless universe, this place is a mere blue pin from the perspective of the stars. Gaia is about life and perfect harmony of people and the earth as it were millions of years ago and which is now hard to find.
 Dagmar Chaloupková created several imaginary and true stories. The performance consisted of several images of the people and the earth, the coexistence of the two living substances. Impressive music of Miloslav Kabeláč added to the mysterious and mystical atmosphere. Substantial care was also given to lighting (also directed by Jan Komárek), which together with mirrors hanged on the walls, helped to create a new space where the cosmic tale could take place. Mirrors helped to break the scene into a completely new landscape with new ambience and a new feel. These two aspects then helped to create a vivid and impressive narration. During the performance Dagmar has become a playful small child exploring a new planet, a cautious and deliberate woman walking through a silent land and a thoughtful soul of a girl covered only by the moonlight.
The individual stories were separated by darkness, some of them were covered by dim light and some were shown only as fragments. The choreography provoked active participation of the audience who couldn’t just sit and watch but had to be involved in the narration to understand complete the message, which was often only indicated or hinted.
Dagmar’s dancing does not need any further commentary. It is elaborate and precise and it fully expresses the initial motif.

New choreographies show that Dora Hoštová and Dagmar Chaloupková still have something to say and that they do not stay inert in their old dance stereotypes but they are still looking for new ways of expression. They come out of their “boxes” and they search for innovative methods, which was also appreciated by the audience. 

Translation: Pavel Drábek