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Strutting their stuff

Prague's young dancers step out with original choreography
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By Brooke Edge
For The Prague Post
June 13th, 2007 issue

Miniatures

When: Saturday, June 16, at 7
Where: Estates Theater
Tickets: 60–280 Kč, available through Ticketpro and at the venue

Photo by ROMAN SEJKOT
Sylva Nečasová, second from right, offers a smart blend of motion and music.
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The world of classical ballet doesn’t always make it easy for young dancers to get attention or spread their soloist wings. After all, one swan in a flock of 20 isn’t easy to pick out, just as identifying one of the Nutcracker snowflakes out of the flurry is near impossible.
As a service to both its junior company members and its audience, the National Theater Ballet created Miniatures, an annual showcase of short original pieces conceived and performed by its rising talent. The combination of a once-a-year opportunity and the ingenuity of fresh perspective inevitably results in an evening of diverse styles — and results — in dance.
This year, Miniatures features the work of 10 dancer/choreographers tasked with setting their pieces to Czech music. The final products reflect the country’s wide range of styles, from classical favorites such as Dvořák to the pop stylings of Hapka & Horáček.
Miniatures' first act consists of five short numbers, beginning and ending with this segment’s best.
“Fuga,” choreographed by Sylva Nečasová, eases into the evening with a deceptively straightforward piece for three women and one man. Nečasová’s creation is an engaging meeting of bodies with music, expressed through steps that border on sensuous yet still remained detached, more like intangible notes of melody than corporeal motions.
The next two pieces remove any pretext of ambiguity leaping right into the literal, storytelling vein of choreography. The first, “Frustrace in G,” relates the progression of a relationship in a goofy, boring way. It starts with a man and woman flirting, then their honeymoon period, followed by fear of commitment, anger and mutual disgust, finally capped off by makeup lust. There’s nothing new here, and from an audience perspective the relationship goes on way too long.
“Polednice” is no less hokey, but at least it isn’t trying to be funny. Choreographer Michaela Černá’s work is about child-rearing, starring an awfully annoying little red-headed girl who throws tantrums at her ever-suffering mother (Černá). Death incarnate comes to fetch the daughter, and a battle between mother and the cloaked apparition ensues. But the question remains: Why should the audience care what happens to such an insufferable brat?
Breaking from the ballet mold is “R.U.R.,” a combination of dance and drama, courtesy of the State Opera’s Ondřej Novotný. The piece includes a vintage routine that has eluded so many tipsy partygoers — the robot. I would venture to guess that Miniatures gives this breakdance staple its official debut on the Estates Theater stage.
The first act is capped with “Tri pro solo aneb Pražské hystérium,” a fantastically fun valentine to male bonding over beer. For a night of Czech choreography set to Czech music, what topic could be more appropriate? You might not think ballet would be the best medium for interpreting hospoda culture, but this number is raucously entertaining, filling the theater with laughter. The technical aspects are impressive as well. If filmed, this combination of raw talent and a stylized ’80s-era music video could be a hit on YouTube.
Without a doubt, though, the highlight of Miniatures is “Zlomené sny,” a ballet that fills the evening’s entire second half. Choreographed by Tomáš Rychetský with assistance from Pavel Píšek, it’s set to the hypnotic folk music of The Klezmatics.
Rychetský’s creation could be described as primal yet subtle. A clan of people allows a wanderer (danced by Rychetský) into their midst; the ensuing ballet follows his attempts at assimilation and other scenes from tribal life. Delicate touches such as purposeful finger movements and holding gazes, combined with masculine routines of leaping and hitting the ground hard, take the work across a full spectrum of emotions and interactions.
As the wanderer’s lover, Zuzana Simáková works with Rychetský to animate two lovely, sentimental pas de deux. Simáková is the real star of the evening, stealing the show as a performer in three pieces (including one of her own creation).
Rychetský also gives us a stunningly touching pas de trois. Beautifully and sensitively danced but never showy, the variation is an impressive blend of skill and emotion.
While not every piece will hit home with every audience member, chances are Prague’s dance fans will find at least one budding choreographer in this year’s Miniatures to follow in his or her ensuing career.

Brooke Edge can be reached at features@praguepost.com


Other articles in Night & Day (13/06/2007):

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