REVIEWS
Read the reviews on the latest prodiction 420PEOPLE in the Archa Thetre, Prague.
ČT 24 author: Linda Fryčová
Dance Zone, author: Marketa Faustova
A2 author: Nina Vangeli
Lidové noviny, author: Lucie Dercsényiová
The content of the following text is roundup, translated from the czech originals.
Dance Zone, author: Marketa Faustova
New "leporelo" by 420people
Duet "On an Even Keel," created by Vaclav Kunes in the spring of 2008, which opened in the Netherlands, it was the was the opening of the evening.
It is a first part of the a trilogy, which of part two is duet Small Hour, honored by standing ovations during it's Prague premiere at the beginning of the year 2008.
What happened before Small Hour....
On an Even Keel is, as well as the rest of the evening, very clean work concerning the look of the stage ...Minimalist movement is contrasted by a dynamic phase, when the male figure enters the female field and perhaps one would think here, begins the act of meeting and getting to know each other. The precision of the movement of the dancer Rei Watanabe with almost "oriental" detail catch’s your eyes.... The communication between the two dancers stays somehow blurry and the cosmic energy, like in Small Hour, never comes. But don't forget, that this is only the first wave, the swells of the storm become bigger in Small Hour, slowly then it makes perfect sense
Naharin's Bolero
The audience was anticipating the new piece by the choreographic celebrity from Israel - Ohad Naharin.
During his Bolero we threw away our intellectual prejudice and just simply enjoyed it.
The humorous movement gesture of Bolero comes out mostly in the parts where both dancers are synchronized and repeating fine and simple motion - for example circles with their arms. In this very movement though, the body-posture and the eyes, just as if they're saying: " Look what we can do! "
We're attracted by the fast expression changes of both dancers. The interpreters are in one-second the mechanic dancers from "melody box," in the next we see the strong-grounded fighters in them.
The theatrical talent of Natasa Novotna and her unique dance expression (combination of the fairy and the witch) stands out.
The costumes - black cocktail dresses, are simple but very imaginative....
Playful effectiveness, yet intimacy brings the green light, gaining a other meaning when its refection reveals the dancer bodies as if in the surge of a swell.
Ohad Naharin simply did not disappoint us.
Wild trio
....Last creation of the evening Golden Crock by Vaclav Kunes was conceptually very well worked out and managed to break out the conventional expectations of the audience…
Once the two men and one woman entered the stage, the movement as well as the costumes where somehow wild, animalistic and heroic, we expected the fight for the female. Instead of the fight, the dancers excelled as a dancing unit or if you wish one tribe, finally ending all together with a simple, yet upright look into the public
.... This choreography is surely healthy refreshment for the Czech scene...
ČT 24 autor: Linda Fryčová
420PEOPLE fulfilled the expectations, overwhelmed Archa by dance
Prague - The sold-out auditorium of the Archa Theatre saw the new mixed-bill by 420PEOPLE. Artists Vaclav Kunes and Natasa Novotna invited, Czech dancers, also colleagues from Japan and Italy as well as the star of the contemporary dance - Israeli choreographer Ohad Naharin....
The pieces were followed by great applause....
The evening was opened with Kunes's piece - On an Even Keel, performed by Japanese dancer Rei Watanabe and him self. This duet, based on gentle and unusual movement, is the first part of a prepared trilogy, where choreography Small Hour is part two. Kunes and Novotna were awarded for Small Hour in (2008) the Theater newspaper/Sazka price.
Dancer and choreographer Tomas Rychetsky, member of the National Theatre Ballet, is in close collaboration with 420PEOPLE since it's beginning in 2007.
This time he presented him self in choreography - 5 steps towards you. Using three sound pieces for fast and dynamic dance with the "gleaming bath" at the end. Natasa Novotna, the assistant of choreography, was present on stage as almost static figure to which the dancer tries to come close.
B/olero
Natasa Novotna together with Rei Watanabe interpreted B/olero, the latest choreography by Ohad Naharin. The dance, using the new Naharin's method GAGA, created to the Ravels music in a synthesizer arrangement, came out immensely playful and fresh.
New choreography Golden Crock by Kunes, which as the longest piece ended the evening, was created on Novotna, Italian dancer Francesco Nappa and member of the Czech Laterna Magika - Milan Odstrcil. Animated drama of three characters in somewhat fairy- tale costumes was rewarded by the longest applause.
A2 author: Nina Vangeli - dance publicist
420PEOPLE in Archa alternately successful.
New choreographies by European dance company.
New dance company 420PEOPLE, with it's roots in the Czech Republic, named it self after their home pre-dial code. And now at home they present pieces by Vaclav Kunes, Tom Rychetsky and Ohad Naharin.
Did they full-fill the expectations?
The heard of this group are dancer and choreographer Vaclav Kunes and dancer Natasa Novotna (both ex-members of the Jiri Kylian's Nederlands Dans Theater) and the producer Ondrej Kotrc.
They were two reasons to await their new premiere in the Archa Theatre - partly from the curiosity, to were is evolving the mind of Vaclav Kunes as a choreographer, partly because the duet of world renowned Ohad Naharin was supposed to be a part of this evening.
Under the high voltage
The result is encouraging. The choreographic handwriting of Kunes shifted clearly, in less than a year, to more actual dance language. The structure became alive, reacting efficiently as well as impulsively. The new piece for three dancers named Golden Crock broad an appealing chorographical material.
It seems that Kunes together with his dancers let the wildness free in this place. He could obviously rely on the strong physical charisma and magnetism of Francesco Nappa and Natasa Novotna. Fortunately managing to avoid the banality of explicit eroticism. Breathing with his dancers, he draws dynamic contrasts and shades, which are the vital fluid for each dance. The third dancer Milan Odstrcil, without doubt about his dance qualities, isn't completely lining up with the rest, partly also because the choreographer leaves him somewhat on the periphery.... Nevertheless the choreography is a living structure; therefore any small imperfection cannot easily join up. ....
...Brand new (private) B/olero by Ohad Naharin, musically mutated by synthesizer, is an original show challenged by Ravel's cultic opus. Usually the choreographers use the collective power of their companies. Here are, to carry the "whole world," standing two female dancers, two twin like creatures in black dresses, facing the ray of the light, purple from one side of the stage and green from the other, just like if Egon Schiele would paint them — awesome Natasa Novotna and Rei Watanabe.
If it wasn't so particularly worked out, it could have all been one gentle dance joke. From the dancers it is asking an intelligence and sense for the substance - to be able to articulate the sophisticated Naharin's irony and beyond all the humor and grounded motion they retain a sort of untouchable secret. The dance movements are mostly synchronized, braking apart sensitively in relation with the sound. Directions and upstream, movement surprises and dance alienations. If Chaplin sets the rule "one gag for each minute," here we have it every ten-seconds. In the final the music flowed away like water from the broken radiator. And the dancers? Think upon...?
Finding the inner balance, author: LUCIE DERCSÉNYIOVÁ
newspaper / Lidové noviny
Already at the beginning of this year, Kunes presented the first part of planned trilogy — opus Small Hour. New choreography On an Even Keel connects to the previous piece and deals once more with the Path of the relation. Henry Purcell's gracious baroque music, sounds in contrast with the slow-motion of the dancer(V. Kunes), whom passes behind the white hanging ropes on the horizon; his partner (Rei Watanabe) stops in the pose, resembling desperate, silent scream. Follows the duet, where the sensitive reactions these interpretations are gripping you — the movement comes out astonishingly inner and subtle.
The piece is an intimate acknowledgment, where we can admire the gentle shades of the movement structure, nevertheless it is difficult to understand the "message". Kunes's dance was fierce, in the final solo to Purcell's brilliant score.
Reflecting him self is also Tom Rychetsky (engaged with the National Theatre Ballet in Prague), entering the light rectangles - the fast movement phases at the beginning of his 5 Steps towards You were slowing down during his dance on the white floor stripe when heading towards the female dancer walking slowly on the edge of the stage.
Rychetsky gives to his choreographies the “artistic look” with good use of the light design as well as the space.
The game of " the bodies and the tones". Ohad Naharin, the artistic director of Batsheva Dance Company in Israel, staged for the company his newest choreography. In his B/olero, he plays with the bodies of the dancers like with the marionettes in significant green-purple light, which reflects from their short black dresses. Famous Ravel's piece sounds from the recording, by Japanese composer Isao Tomita, on synthesizer. Completely frees the tension and expectations, which suggests the original score. Naharin's version of Bolero is simply just a game of the bodies and the tones, when even the last accord is omitted and the dancers are closing the creation up like metronome - by pendular movements with their arms.
Lajkó Félix's music inspired Kunes to create a dance trio Golden Crock, performed at the end of the evening. Spontaneous interpretation of the music was according with the dance composition dynamic and turbulent. Kunes is again occupied with finding the inner balance and inconsistency of relations. The dancers influence each other impulses, the intensity of the movement comes out of the mutual contact.
The evening in the Archa Theatre impressed by the delicacy of artistic testimonies; accept Naharin the authors are interpreting the coming through life experience - in some moments tough, as if they stay only with them selves.
Dance Zone, author: Marketa Faustova
A2 author: Nina Vangeli
Lidové noviny, author: Lucie Dercsényiová
The content of the following text is roundup, translated from the czech originals.
Dance Zone, author: Marketa Faustova
New "leporelo" by 420people
Duet "On an Even Keel," created by Vaclav Kunes in the spring of 2008, which opened in the Netherlands, it was the was the opening of the evening.
It is a first part of the a trilogy, which of part two is duet Small Hour, honored by standing ovations during it's Prague premiere at the beginning of the year 2008.
What happened before Small Hour....
On an Even Keel is, as well as the rest of the evening, very clean work concerning the look of the stage ...Minimalist movement is contrasted by a dynamic phase, when the male figure enters the female field and perhaps one would think here, begins the act of meeting and getting to know each other. The precision of the movement of the dancer Rei Watanabe with almost "oriental" detail catch’s your eyes.... The communication between the two dancers stays somehow blurry and the cosmic energy, like in Small Hour, never comes. But don't forget, that this is only the first wave, the swells of the storm become bigger in Small Hour, slowly then it makes perfect sense
Naharin's Bolero
The audience was anticipating the new piece by the choreographic celebrity from Israel - Ohad Naharin.
During his Bolero we threw away our intellectual prejudice and just simply enjoyed it.
The humorous movement gesture of Bolero comes out mostly in the parts where both dancers are synchronized and repeating fine and simple motion - for example circles with their arms. In this very movement though, the body-posture and the eyes, just as if they're saying: " Look what we can do! "
We're attracted by the fast expression changes of both dancers. The interpreters are in one-second the mechanic dancers from "melody box," in the next we see the strong-grounded fighters in them.
The theatrical talent of Natasa Novotna and her unique dance expression (combination of the fairy and the witch) stands out.
The costumes - black cocktail dresses, are simple but very imaginative....
Playful effectiveness, yet intimacy brings the green light, gaining a other meaning when its refection reveals the dancer bodies as if in the surge of a swell.
Ohad Naharin simply did not disappoint us.
Wild trio
....Last creation of the evening Golden Crock by Vaclav Kunes was conceptually very well worked out and managed to break out the conventional expectations of the audience…
Once the two men and one woman entered the stage, the movement as well as the costumes where somehow wild, animalistic and heroic, we expected the fight for the female. Instead of the fight, the dancers excelled as a dancing unit or if you wish one tribe, finally ending all together with a simple, yet upright look into the public
.... This choreography is surely healthy refreshment for the Czech scene...
ČT 24 autor: Linda Fryčová
420PEOPLE fulfilled the expectations, overwhelmed Archa by dance
Prague - The sold-out auditorium of the Archa Theatre saw the new mixed-bill by 420PEOPLE. Artists Vaclav Kunes and Natasa Novotna invited, Czech dancers, also colleagues from Japan and Italy as well as the star of the contemporary dance - Israeli choreographer Ohad Naharin....
The pieces were followed by great applause....
The evening was opened with Kunes's piece - On an Even Keel, performed by Japanese dancer Rei Watanabe and him self. This duet, based on gentle and unusual movement, is the first part of a prepared trilogy, where choreography Small Hour is part two. Kunes and Novotna were awarded for Small Hour in (2008) the Theater newspaper/Sazka price.
Dancer and choreographer Tomas Rychetsky, member of the National Theatre Ballet, is in close collaboration with 420PEOPLE since it's beginning in 2007.
This time he presented him self in choreography - 5 steps towards you. Using three sound pieces for fast and dynamic dance with the "gleaming bath" at the end. Natasa Novotna, the assistant of choreography, was present on stage as almost static figure to which the dancer tries to come close.
B/olero
Natasa Novotna together with Rei Watanabe interpreted B/olero, the latest choreography by Ohad Naharin. The dance, using the new Naharin's method GAGA, created to the Ravels music in a synthesizer arrangement, came out immensely playful and fresh.
New choreography Golden Crock by Kunes, which as the longest piece ended the evening, was created on Novotna, Italian dancer Francesco Nappa and member of the Czech Laterna Magika - Milan Odstrcil. Animated drama of three characters in somewhat fairy- tale costumes was rewarded by the longest applause.
A2 author: Nina Vangeli - dance publicist
420PEOPLE in Archa alternately successful.
New choreographies by European dance company.
New dance company 420PEOPLE, with it's roots in the Czech Republic, named it self after their home pre-dial code. And now at home they present pieces by Vaclav Kunes, Tom Rychetsky and Ohad Naharin.
Did they full-fill the expectations?
The heard of this group are dancer and choreographer Vaclav Kunes and dancer Natasa Novotna (both ex-members of the Jiri Kylian's Nederlands Dans Theater) and the producer Ondrej Kotrc.
They were two reasons to await their new premiere in the Archa Theatre - partly from the curiosity, to were is evolving the mind of Vaclav Kunes as a choreographer, partly because the duet of world renowned Ohad Naharin was supposed to be a part of this evening.
Under the high voltage
The result is encouraging. The choreographic handwriting of Kunes shifted clearly, in less than a year, to more actual dance language. The structure became alive, reacting efficiently as well as impulsively. The new piece for three dancers named Golden Crock broad an appealing chorographical material.
It seems that Kunes together with his dancers let the wildness free in this place. He could obviously rely on the strong physical charisma and magnetism of Francesco Nappa and Natasa Novotna. Fortunately managing to avoid the banality of explicit eroticism. Breathing with his dancers, he draws dynamic contrasts and shades, which are the vital fluid for each dance. The third dancer Milan Odstrcil, without doubt about his dance qualities, isn't completely lining up with the rest, partly also because the choreographer leaves him somewhat on the periphery.... Nevertheless the choreography is a living structure; therefore any small imperfection cannot easily join up. ....
...Brand new (private) B/olero by Ohad Naharin, musically mutated by synthesizer, is an original show challenged by Ravel's cultic opus. Usually the choreographers use the collective power of their companies. Here are, to carry the "whole world," standing two female dancers, two twin like creatures in black dresses, facing the ray of the light, purple from one side of the stage and green from the other, just like if Egon Schiele would paint them — awesome Natasa Novotna and Rei Watanabe.
If it wasn't so particularly worked out, it could have all been one gentle dance joke. From the dancers it is asking an intelligence and sense for the substance - to be able to articulate the sophisticated Naharin's irony and beyond all the humor and grounded motion they retain a sort of untouchable secret. The dance movements are mostly synchronized, braking apart sensitively in relation with the sound. Directions and upstream, movement surprises and dance alienations. If Chaplin sets the rule "one gag for each minute," here we have it every ten-seconds. In the final the music flowed away like water from the broken radiator. And the dancers? Think upon...?
Finding the inner balance, author: LUCIE DERCSÉNYIOVÁ
newspaper / Lidové noviny
Already at the beginning of this year, Kunes presented the first part of planned trilogy — opus Small Hour. New choreography On an Even Keel connects to the previous piece and deals once more with the Path of the relation. Henry Purcell's gracious baroque music, sounds in contrast with the slow-motion of the dancer(V. Kunes), whom passes behind the white hanging ropes on the horizon; his partner (Rei Watanabe) stops in the pose, resembling desperate, silent scream. Follows the duet, where the sensitive reactions these interpretations are gripping you — the movement comes out astonishingly inner and subtle.
The piece is an intimate acknowledgment, where we can admire the gentle shades of the movement structure, nevertheless it is difficult to understand the "message". Kunes's dance was fierce, in the final solo to Purcell's brilliant score.
Reflecting him self is also Tom Rychetsky (engaged with the National Theatre Ballet in Prague), entering the light rectangles - the fast movement phases at the beginning of his 5 Steps towards You were slowing down during his dance on the white floor stripe when heading towards the female dancer walking slowly on the edge of the stage.
Rychetsky gives to his choreographies the “artistic look” with good use of the light design as well as the space.
The game of " the bodies and the tones". Ohad Naharin, the artistic director of Batsheva Dance Company in Israel, staged for the company his newest choreography. In his B/olero, he plays with the bodies of the dancers like with the marionettes in significant green-purple light, which reflects from their short black dresses. Famous Ravel's piece sounds from the recording, by Japanese composer Isao Tomita, on synthesizer. Completely frees the tension and expectations, which suggests the original score. Naharin's version of Bolero is simply just a game of the bodies and the tones, when even the last accord is omitted and the dancers are closing the creation up like metronome - by pendular movements with their arms.
Lajkó Félix's music inspired Kunes to create a dance trio Golden Crock, performed at the end of the evening. Spontaneous interpretation of the music was according with the dance composition dynamic and turbulent. Kunes is again occupied with finding the inner balance and inconsistency of relations. The dancers influence each other impulses, the intensity of the movement comes out of the mutual contact.
The evening in the Archa Theatre impressed by the delicacy of artistic testimonies; accept Naharin the authors are interpreting the coming through life experience - in some moments tough, as if they stay only with them selves.