Dance Context Journal is preparing its third issue. Following last year’s focus on identity in dance, this year’s edition explores the role of politics in the performing arts.
Adriana Štefaňáková made a notable debut to dance audiences last fall as a performer in Miřenka Čechová’s Hostage. Now she has presented her own full-length work Triptych: Genesis/Metamorphosis/6’7...
From the high-precision geometries of the Staatsballett to the archival memories of Radialsystem, Berlin’s spring 2026 dance season unfolds as a profound exploration of identity and heritage.
The Ministry of Culture of the Czech Republic has a full complement of political deputy ministers since May. Former ballet master and choreographer Jiří Bubeníček has joined the ministry’s leadership and will represent the SPD party. He has been in office since May 4.
Swedish choreographer Mats Ek is well known for his remakes of classical ballets. Whether it is Giselle (1982), Swan Lake (1987), or The Sleeping Beauty (1996), Ek always approaches these jewels of the classical repertoire in his own way. Often refreshingly unconventional and, for some, even scandalous.
The 32nd edition of the Czech Dance Platform went ahead despite cuts in state subsidies. A revamped marketing identity, a more interesting selection of submitted works, and perhaps even the selection criteria themselves have benefited the platform compared to last year.
Laterna Magika presented the world premiere of Baron Münchhausen in an original retelling. Due to the renovation of the New Stage, the premiere took place on the stage of the Estates Theater.
Letní Letná announces more major international stars for its 23rd edition. Two big names from France are returning to Letenské sady following their previous success.
The Divadelní Flora International Festival will take place in Olomouc from May 15 to 24. This year’s festival is themed “Solidarity” and highlights contemporary dance and physical theater.
After a seasonal glut of Nutcrackers, dance companies in London settled into more diverse repertoire from the beginning of 2026. This latest Letter from London takes us from late January until early April.
