Since time immemorial, mime has been a discipline that allows fluid and dynamic transitions from one genric or dramatic territory to another, including a completely individual, newly created iteration. Its universal expressive ability to convey stories and feelings is based in physical expression, more specifically, meaning-making movements, gestures, and mimicry.

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 new project by the ballet company of National Theatre Brno, entitled NdB 3, represents a bold and welcome step, a platform designed specifically for performers of a more "mature" age who, even after the end of their professional careers, still possess acting, technical, and expressive skills that are worth presenting independently.

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.

Researcher self-reflection is an integral part of fieldwork, as well as of the process of writing the text itself. In connection with time spent in the field and the use of diverse methods, the researcher reflects on their own position and identity.

As the British dance scene becomes engulfed, at this time of year, by productions of The Nutcracker, I’d like to take this opportunity, in my second Letter from London, to look back at some of the performances I saw during the summer and autumn. This latest Letter will not be exhaustive, nor will it cover every dance company that has appeared here, but it does take us out of the capital for a brief look at some of the dance companies performing on tour.

Dance can be the antithesis of a clock. Dance can teach us that time is not separate from the body. In fact, the moving body is rather a reminder that time and space are always in a dance. And the dance never stops, but it also never begins. One can tap into this dance, the same way that one can tap into a rhythm.

In the 2024/2025 season just passed, in addition to those projects by large ensembles celebrating various anniversaries of their existence, the fields of contemporary and new circus, physical theatre, mask and mime could be characterised as a platform open to the sharing of creative processes.