Dance Review: Czech National Theater Ballet

Works inspired by Australia's Aboriginals; rich use of props.

October 10, 2005 17:39
1 minute read.


Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analysis from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief


The National Theater Ballet, Prague Suzanne Dellal October 7 The National Theater Ballet of the Czech Republic, directed by choreographer Petr Zuska, opened this year’s DancEuropa festival. The company opened the evening with ‘Stamping Ground’ (1983), an old signature work by his Zuska’s compatriot Jiri Kylian. The work’s unique body language sums up the strong impact of Kylian’s first encounters with the Aboriginals of Australia. The dedicated dancers of this company followed the difficult basic ‘script’ but often missed the inner intensity which charged the stage when it was first introduced more than twenty years ago. The other two performances were dance theater works, choreographed by Petr Zuska; “Les Bras de Mer” and “Maria’s Dream” indicated a partiality toward using props, such as a table and bench which enabled the dancers to widen their range of kinetics. The first was a duet with few lyrical moments of great beauty that unfortunately were limited by a simplistic narrative. The second work took on gender-changing options, trips in and out of reality, humor, and terrific jumps, dives and rolls, as a group of men frolicked by a lake, envious of a beautiful swan.

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys


Cookie Settings