Roman Vašek graduated in theater studies from Charles University. He is a dance critic and journalist. He works at the Arts Institute – Theater Institute, where he is employed in the bibliography department and participates in projects related to dance, focusing, among other things, on the issue of second careers for dancers.
When we take a look at the recent Czech ballet season, we see quite the variety, including repertoire classics, original full-length creations, and programmes featuring works by both Czech artists and pro-ven international choreographers. We see safe bets in terms of the productions chosen, but experimenta-tion with less common source materials and forms.
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 life of Mexican painter Frida Kahlo was full of passion and pain, and above all, admirable strength. To a large extent, this was reflected in her original artistic style, which often mirrored her inner world in the form of self-portraits.
It might come as a surprise how few “classics” were represented among the premieres, or rather works with their origins in the nine-teenth century. The National Theatre presented a new version of Coppélia, and as has become custom during Barankiewicz’s lead-ership, it was another example of a conservative interpretation of a classic, which might have appealed to ballet purists, but would struggle to interest audiences looking for more vibrant theatre.
Jean-Christophe Maillot's version of Cinderella returned to Prague. A new generation of dancers from the National Theatre got the opportunity to perform in an unusual take on the well-known story.
Over the past quarter century, Don Quixote has become a regular addition to the repertoires of Czech ballet companies. The ballet is cherished for its uncomplicated music, Spanish flavour and a variety of attractive dance roles that shine the limelight on the soloists.
The Czech audience knew the Korzár (Le Corsaire) ballet only as a duet (or trio) staged at ballet gala concerts or dance competitions.
May 2020 marked 150 years since the world première of the ballet Coppélia. Over the one and a half centuries, the piece has become a staple in the repertoires of almost all world ballet companies, including Czech ones.
The Ostrava ballet company’s dramaturgs are always seeking and inviting interesting foreign dancemakers.
Shakespeare is a bottomless well of inspiration, which applies to ballet adaptations as well. The Taming of the Shrew...
