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National Theatre (Národní divadlo), Národní 2, Praha 1 - Nové Město, 110 00

  • ballet


  • Thu 18. 4. 2019 19.00
  • Fri 19. 4. 2019 14.00 a 19.00
  • Sun 21. 4. 2019 19.00

George Balanchine is the most distinguished choreograph of the 20th century, who has played a leading role in the formation and the innovation of classical dance techniques and form of the scenic ballet.

His play Serenada focused on contemporary topics, yet featuring Ancient Greek figures. The British political drama on the devastated city of Thebes, with its president, Eurydice, striving to raise it to its feet. The female leader is approached with advice by Athens’ ruler, Theseus. Today’s Europe and Ancient Greece meet within a single text. The play presents an ironical view of the past and the present alike; after all, we all believe in the possibility of political change. Yet when Tiresias reminds us that Athens too would fall victim to its avidity and greed, we can feel the power of fate. Or not?

The Israeli choreographer and artistic director Emanuel Gat is considered one of the most exciting contemporary dance creators. He has conceived new pieces for companies around the world, including the Paris Opera Ballet, Sydney Dance Company, Tanztheater Bremen, Le Ballet du Grand Théâtre de Genève, Ballet de Marseille, the Royal Swedish Ballet, Polish National Ballet, Ballet de Lorraine and Cedar Lake. “When forming his ideas and images within the creative process, Emanuel Gat draws upon a loose conception, affording the dancers the freedom to make their own choices. As a result, the timing of the improvisation is discovered anew during every single performance,” says Filip Barankiewicz, artistic director of the Czech National Ballet.

Glen Tetley is one of the 20th century's most renowned and respected choreographers. His dance vocabulary is a fusion of classical and modern phrasing. The expressive body language became the extraordinary hallmark of a new contemporary movement form. Mr .Tetley has created over 50 ballets for the world’s leading dance companies. The Rite of Spring was originally made for the Bavarian State Ballet in 1974, set to Igor Stravinsky’s orchestral piece, written back in 1913 for Sergei Diaghilev’s Les Ballets Russes season in Paris. As in numerous other productions, Tetley’s lead character represents the Chosen One, the Victim of the Rite. The theme could be the sacrifice of a chosen person who is the incarnation of human hope, guilt and suffering. He is killed but also reborn with the spring, and he represents the hope and promise of a new life. The explosion of energy throughout the whole action is difficult to describe. Tetley’s choreography reflects the vitality and driving force of Stravinsky’s music, maintaining the passion, dynamic pulse, sensual power and vigorous human nature. Definitely a stamina challenge for the dancers.


  • Serenade
    choreography: George Balanchine
    music: Pyotr Ilyich Tchaikovsky
    costumes: Roman Šolc
    lighting design: Daniel Tesař
  • Separate Knots
    choreography: Emanuel Gat
    music: Fryderyk Chopin
    costumes: Emanuel Gat
    lighting design: Emanuel Gat
  • Le sacre du printemps
    choreography: Glen Tetley
    music: Igor Stravinsky
    sets: Nadine Baylis
    costumes: Nadine Baylis
    lighting design: John B. Read

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