Earth Works by Sergiu Matis, at the Vienna Odeon Theater, on July 11, 2025, as part of ImPulsTanz Festival 2025

by Simona Noja-Nebyla

Earth Works is a dance piece by Sergiu Matis, a Romanian choreographer born in Cluj-Napoca and educated in Romania and Germany. Premiered in December 2024 in Berlin, it draws on reflections by authors from different parts of the world, recounting their personal experiences with the threatened environment.

Through words, sentences, and images, the text carries the five performers: Lisa Densem, Moo Kim, Sergiu Matis, Nicola Micallef, and Manon Parent, who, in turn, embody the movements generated by the written and spoken word in space. In this live exchange of knowledge, we, the audience, encounter ancestral essences of cultures (often unfamiliar to most Europeans) and their messages.

Metaphors like “Water is the first story of place” or “A river is the song of running water” echo within us the ancient Greek memory of Thales of Miletus, who believed that everything began with water. There is an immediate connection between us and the Wiradjuri belief (Australia) as “people of the rivers.” We recognize that rivers belong to all of us, that they, like us, want to keep flowing, evolving. Jeanine Leane goes even further: “Rivers are us.” As long as water can flow, there is life—something that should never be stopped or broken. “If a deity is a force that can either create or destroy all life, then water is our highest power. What retribution will the future bring if we fail in our reverence for rivers?” [Leane, J. (2025). Galing-gu giiland. In Earth Works (Performance program, pp. 6–8). Vienna.]

Translated into movement, the dancers know no boundaries of embodiment; they are alive as long as they can move and bring ideas into manifestation. Through their bodies, the dancers let truth flow. If words may abstract meaning, the dancers carry the detailed significance of each thought, delivering it into virgin territories of sense—making it visible, perhaps newly understood, and why not, loved for the first time.

Photo@Boris Nebyla

Wiradjuri poetry is polyphonic; it holds ancestral voices, personal memory, communal trauma, language, resistance—all together, in a layered and powerful way. In a Western literary context, this idea is famously explored by Russian thinker Mikhail Bakhtin, who described the novels of Dostoevsky as “polyphonic”, allowing multiple moral, social, and philosophical voices to speak without the author imposing one “final truth.”

Is polyphony a renewal of the syncretic primordial arts?
Does bringing many voices together in poetry or art revive an older, foundational way of making art—one inherently blended, ritualistic, communal, before divisions like “high” and “low” art or “Western” and “Indigenous” systems?

In the context of Wiradjuri poetry (and many Indigenous poetics), polyphony is not a postmodern innovation; it’s a continuation of ancient practices. Oral traditions have always been multi-voiced: ancestor stories, songlines, past and present intertwined. Colonialism tried to flatten or silence this multiplicity, though poets like Jeanine Leane reclaim and re-weave those many voices—it’s both renewal and resistance.

But polyphony isn’t always syncretic in the sense of blending traditions into one. Sometimes, it’s about holding differences without erasure. For example, English and Wiradjuri languages can sit together in a poem without merging — they rub, resist, echo, but don’t collapse into a single hybrid.

The five dancers do something similar. Their polyphony of movement, shaped by different backgrounds, acts as a renewal of long-forgotten, deeply anchored emotions — vivid now as they were back in time. Modern systems may have suppressed this, but movement often goes beyond words, carrying secrets that only human bodies can hold.

More than that, in Earth Works, the return to origins carries less the weight of nostalgia and more the hidden, mysterious, transformative power of revealing the truth.

“In order to understand, sometimes we have to go back to the beginning. [...] Our ancestors measured distances through an understanding of currents [the Pacific Ocean] by feeling the breeze and following a map of the stars with a map that existed in the mind, and was transmitted down through generations via storytelling and connection to the environment.” [Aoake, H. P. (2025). Whatungarongaro te tangata, toitu te whenua — people fade away, but the land remains. In Earth Works (Performance program, pp. 10–21). Vienna.]

The “huge body of water with dotted islands in between big continents” can be seen as a giant wheke (octopus) that interconnects pieces of land across the ocean, suggests Hana Pera Aoake, a New Zealand author and researcher. She suggests that if we understand our whakapapa (foundational explanation not only for why life came to be, but also how it should be lived), we are grounded to the earth and know where we belong.

An explanation might be needed here: the Australian Wiradjuri are distinct from the Māori.
Both Māori (Aotearoa/New Zealand) and Wiradjuri (Australia) are Indigenous peoples with deep ancestral ties to their lands, not just as territory, but as living kin (whenua in Māori, Ngurambang in Wiradjuri). Both hold worldviews where human, non-human, spiritual, and natural worlds are interconnected. Ancestors, animals, rivers, mountains, and plants are seen as living beings or relatives. While Māori are Polynesian (part of the larger Austronesian family), having sailed to Aotearoa around the 13th century from eastern Polynesia, the Wiradjuri are Aboriginal Australians, part of one of the oldest continuous cultures on Earth (60,000+ years), with completely different ancestral origins and migration history.

As Hana Pera Aoake suggests, the performers of Earth Works seem to know where they belong. Sergiu Matis lets his roots of Romanian culture — shaped by layered influences (Roman, Slavic, Balkan, and more) — braided over time into a singular, living tradition — meet other cultures with ease, respect, and curiosity. The Māori worldview becomes close and familiar, because “we don’t own land, we belong to it” (Hana Pera Aoake). It looks like a fairy tale. Sometimes, it can become a horror. But dancers give us hope. They remind us how we can rewrite stories about places that are sacred, as in Māori belief, “of the beauty of Te Wai u o Tūwharetoa that has not yet been destroyed.” (Hana Pera Aoake).

This might not be easy. As the Nigerian Rahima Gambo asks herself:
“Is natural catastrophe an exercise in abstract expressionism, a Pollock canvas waiting to happen? In natural catastrophe, there may be no answers, but there is music, improvised and lilting, moving from note to note, until it reaches a chaotic frenzy.” [Gambo, R., with Tatsuniya Artist Collective. (2025). Termite splatter. In Earth Works (Performance program, pp. 24–25). Vienna.]

Yes, there might be hope where we can see music and hear dance. Yet, we must pay attention to “a special rock somewhere”—because if mined, “Jamaica will sink”. “A sinking island within this mytho-poetic landscape is not only water rising but the land itself folding in on itself.” [Morrison, H. (2025). “A special rock somewhere”. In Earth Works (Performance program, pp. 28–29). Vienna.]

There is danger everywhere, and “the blood wants to fly.” We are “alone but not really.” The fire hidden by the mangroves reminds us, in a Heraclitean way, that all things transform constantly. It suggests that the spirit, memory, or cultural presence of the Javan tiger continues, even if the animal no longer exists physically. It evokes resilience, survival, or wildness that persists against all odds. “Lineage is not a downward line.” Even colonialism could not destroy it. Because lineage is not just ancestry flowing from past to present in a straight, vertical line—parent → child → grandchild. Lineage is relational, circular, and web-like. In many Indigenous and relational worldviews (including Wiradjuri and Māori), lineage is not linear but networked—it includes relationships across generations, non-human kin (animals, plants, rivers), ancestors and future descendants, land, memory, and spirit. Lineage is responsibility, not just inheritance. It’s not only what you get from those before you, but what you carry, care for, and pass in multiple directions. It radiates in many directions: backward to ancestors, sideways across the community, forward to those yet to come, and outward to land and more-than-human relations. [Jay, P. (2025). My blood wants to fly. In Earth Works (Performance program, pp. 32–34). Vienna.]

In this sense, the destinies of human beings are deeply entangled with the elements of nature and plants. “Suddenly life is a flower, a small flower by a lakeshore” [Valkeapää, L., & Valkeapää, O. A. (2025). Life is... In Earth Works (Performance program, pp. 36–37 Vienna.)] As Leena and Oula A. Valkeapää, following the Sámi tradition of the people of Lapland (Finland), live with reindeer and believe, these animals are ancestral beings, part of our cosmic and shamanic journeys. They are central life-givers—providing food, clothing, tools, mobility, and spiritual connection. Beyond that, the reindeer embodies cycles of life, migration, survival, and reciprocity with nature. Across cultures, mythological readings often see reindeer as mediators between worlds (earth-sky, human-spirit, living-dead), carriers of light and movement through darkness (especially in the polar night).

Is the reindeer not similar to a dancer—a cosmic traveler bringing a lifeline across space and time, performing a movement that occurs here and now, between river and ocean?

Photo@Boris Nebyla

Even if Sergiu Matis tends to believe that “Nothing remains” (2024), his unpublished poem, Earth Works is a poetic dance plea about ephemerality and disappearance, environmental grief and embodied memory. And even if it echoes a meditation on endings, one feels it deeply also as a provocation: what might endure beyond ruin? 

Photo@Boris Nebyla

A river as the song of running water? 

A special rock somewhere? 

A small flower by a lakeshore near reindeer?

Or maybe it is only our meaningful, daring effort to understand the whakapapa through dance?

Photo@Boris Nebyla

Credits

Concept & Choreography
Sergiu Matis

Performance
Lisa Densem, Moo Kim, Sergiu Matis, Nicola Micallef, Manon Parent

Text Contributors
Hana Pera Aoake, Rahima Gambo, Priya Jay, Jeanine Leane, Harun Morrison, Leena Valkeapää, Oula A. Valkeapää

Dramaturgy
Mila Pavićević

Music
Antye Greie-Ripatti (AGF)

Set & Lighting Design
Ladislav Zajac

Costume Design
Lisa Densem, Philip Ingman, Moo Kim, Sergiu Matis, Nicola Micallef, Manon Parent

Choreographic Assistance
Laurie Young

Technical Direction & Sound
Andrea Parolin, Ivan Bartsch

Voice Coaching
Jule Flierl

Editorial Direction
Harun Morrison

German Translation
Calvin Lanz

Production
Anna Chwialkowska, Philip Ingman

Distribution & Touring
Philip Ingman

Production Information

A production by Sergiu Matis

Funded by Hauptstadtkulturfonds, Berlin (DE)

Co-produced by Teatro Nacional Dona Maria II Lisbon (PT) as part of apap – FEMINIST FUTURES (funded by the Creative Europe Programme of the European Union), PACT Zollverein Essen (DE), Radialsystem Berlin (DE), Tanzfabrik Berlin (DE)

Supported by Kunstencentrum BUDA Kortrijk (BE) as part of apap

O escală în smerenie: despre timp, aroganță și ce înveți când nu controlezi nimic.

Am ajuns în Brazilia pentru a mă confrunta cu propriile mele concepte despre timp și aroganță.

Dante avea un loc precis unde îi trimitea pe aroganți și era foarte riguros în clasificarea păcatelor. În viziunea sa din Divina Comedie, aroganța (trufia) este considerată o formă de mândrie exagerată — și este clasată drept unul dintre cele mai grave păcate capitale.
Ei nu sunt pedepsiți în Infern, ci apar în Purgatoriu. În Infern ajung doar cei care nu s-au căit niciodată. În schimb, în Purgatoriu ajung sufletele care au păcătuit, dar s-au căit înainte de moarte. Arogantul poate să se pocăiască. Dacă mândria nu duce la rău voit împotriva altora, ci este mai degrabă un defect personal, nu se încadrează în păcatele „finale” și „împietrite” ale Infernului.

Ei bine, arogantilor le revine Tărâmul Purgatoriului – Terenul celor mândri (trufași), mai exact Primul cerc al Muntelui Purgatoriului. Ca pedeapsă, ei poartă pietre uriașe pe spate, care îi obligă să meargă cocoșați și cu privirea în jos. Mândria i-a făcut să se înalțe; acum sunt forțați să se plece spre pământ.

Ca europeni, născuți și educați într-un spațiu îmbibat de cultură, tentația de a deveni trufași și de a practica aroganța celor care se cred superiori doar datorită locului din care vin este mereu activă. Cu atât mai mult când cineva trăiește într-o țară considerată, după standardele de viață, în topul mondial.

Ajungând în Brazilia, după 24 de ore de zbor și tranziții între avioane și aeroporturi, conceptele existențiale își pierd forma, fiind dezgolite de orice conținut. Percepția timpului, pentru un european funcțional, capătă aici alte conotații: dintr-o entitate abstractă, dar coerent clasificabilă, devine un fluid incontrolabil și indefinibil.
Am înțeles pentru prima dată, la propriu, ce înseamnă „timpul curge”. Minutele devin ore, orele devin inexorabil reflecție. Pe nimeni nu pare să deranjeze această curgere, cu excepția altor europeni aflați în aceeași stare de perplexitate ca mine.

Dacă ai pierdut avionul de legătură în São Paulo – al treilea în decurs de 24 de ore – a cărui poartă s-a închis inexplicabil înainte de ora anunțată, începe o odisee pe care nu o poți parcurge urmând logica europeană. Însă poți supraviețui doar dacă îți interoghezi propriul concept despre timp și aroganță.

Logic, îmi pun întrebarea: Ce trebuie să fac acum? Deși vorbesc cinci limbi, nu reușesc să mă fac înțeleasă de nimeni. Ciudat cum, din 230 de milioane de brazilieni, nimeni nu pare să vorbească vreo altă limbă!
Renunț să mai aștept ca alții să mă înțeleagă și încerc eu să înțeleg. Îi rog să vorbească portugheza lent – portugheza braziliană. Reușesc să identific câteva cuvinte care capătă sens.

Alerg spre diverse ghișee, într-un aeroport aflat la ora 5 dimineața, în semiîntunericul care face ton în ton cu întunericul de afară. Sute și sute de persoane vorbind portugheza braziliană (português brasileiro), cu intonarea ei melodioasă și lascivă, fluidizează nu doar timpul, ci și spațiul. Aeroportul devine un oraș pe care trebuie să-l parcurgi contra cronometru — după crezul european. Dar timpul, aici, se măsoară doar pe terenul de fotbal, nicidecum altundeva. E ca și cum ai alerga într-un spațiu vidat.

Este de-a dreptul sur-realist. Chiar se poate întâmpla așa ceva? Mai există, în secolul XXI, astfel de situații? Kafka rămâne actual: orice este oricând, în orice fel posibil.

La cele 25 de ghișee, nimeni nu lucrează. Două reprezentante ale liniei aeriene stau docile. Se așteaptă. Întreb. Nimeni nu știe exact. Toți sunt calmi. Doar un european plânge. Nu înțelege cum poți aștepta la ghișee unde, deși personalul este prezent, nimeni nu face nimic.

Și mă gândesc cum mă enervam în Austria că trenul avea întârziere de 10 minute și visam la Japonia, unde suma întârzierilor într-un an era mai mică de un minut și câteva secunde...

În São Paulo nu există întârziere, pentru că nu există timp.
Există doar o curgere a cuvintelor, spre o melodie a existenței, care te trimite la reflecție.

În timpul așteptării, încep să mă întreb:
Cum ar fi dacă aș practica mai mult smerenia? Față de oameni. Față de țări. Față de timp.
Oare nu ar fi mai „productivă” în fața dificultăților? Ale vieții. Ale oricărui aeroport.

Oare nu sunt spațiul, timpul și mișcarea doar entități pe care le modelăm noi?
Și cum ar fi dacă le-aș identifica, analiza, sintetiza, integra și trăi – nu doar logic, ci în credința smereniei?
Nu m-ar apropia mai mult de propriul conținut?

Despre relația dintre Istorie, Teorie, Estetică și Stil în Dans

Istoria, teoria, estetica și stilul sunt concepte profund interconectate care ne ajută să înțelegem nu doar cum dansăm, ci și de ce dansăm așa cum o facem.

🔹 Istorie

Istoria oferă contextul dansului. Ea urmărește evoluția mișcării, pedagogiei, spectacolului și scopului, de-a lungul diverselor culturi și epoci. Prin istorie înțelegem originile baletului — apariția sa în curțile regale, transformarea în perioada romantică și codificarea sa în tradițiile academice de astăzi. Fără conștientizarea istoriei, dansul devine deconectat de la moștenirea sa culturală și artistică.

🔹 Teorie

Teoria oferă cadrul prin care analizăm și interpretăm dansul. Ea abordează întrebări precum:

• Ce definește dansul?

• Care este relația dintre formă și semnificație?

• Cum interacționează mișcarea, muzica și spațiul?

Teoria dansului face legătura între practică și înțelegere. Ea ajută dansatorii, profesorii și cercetătorii să articuleze logica și limbajul mișcării — transformând instinctul în cunoaștere.

🔹 Estetică

Estetica se ocupă de filosofia frumuseții și expresiei în dans. Se întreabă:

• Ce face o mișcare să fie considerată frumoasă?

• Cum percepem armonia, grația sau intensitatea?

• De ce anumite gesturi sau forme ne emoționează?

În balet, estetica este influențată de idealuri istorice (ex: simetrie, verticalitate, épaulement), dar evoluează odată cu timpul și cultura. Valorile estetice ne influențează modul de pregătire, vizionare și interpretare a dansului.

🔹 Stil

Stilul este expresia vizibilă a tuturor celor de mai sus. El reflectă modul în care un dansator interpretează o mișcare în cadrul unui context istoric, estetic și teoretic. Stilul reflectă epoca, locul, școala și filosofia dansului. Nu este doar ce se dansează, ci și cum este întrupat acel dans.

🔗 Cum se leagă între ele

• Istoria fundamentează teoria – cunoașterea trecutului ajută la analiză și predare cu profunzime.

• Teoria clarifică estetica – înțelegerea structurii evidențiază frumusețea și intenția.

• Estetica modelează stilul – valorile despre frumusețe ne influențează alegerile stilistice.

• Stilul reflectă istoria – fiecare mișcare poartă amprenta momentului cultural.

Împreună, aceste concepte creează un continuum al cunoașterii care susține dezvoltarea intelectuală și artistică a dansatorilor și educatorilor.

🧩 Elemente comune între Istoria Dansului și Teoria Dansului

1. Context cultural și social
   Ambele discipline evidențiază influențele culturale și sociale asupra dansului.

2. Evoluția stilurilor și tehnicilor
   Istoria urmărește transformările, iar teoria le explică în termeni de tehnică și structură.

3. Ritual și simbolism
   Dansul are un rol ritualic și simbolic, central în multe culturi.

4. Funcții sociale ale dansului
   Dansul poate fi ritual, divertisment, protest sau identitate națională.

5. Relația cu alte arte
   Dansul se intersectează cu muzica, teatrul, poezia sau artele vizuale.

6. Mișcarea ca limbaj
   Mișcarea este un limbaj universal — istoria o documentează, teoria o analizează.

7. Corp și tehnică
   Corpul este instrumentul de bază; teoria și istoria tratează dezvoltarea sa diferit.

8. Estetică și valoare artistică
   Teoria discută expresia, istoria urmărește evoluția idealurilor estetice.

9. Influențe filosofice și teoretice
   Existențialismul, fenomenologia sau psihanaliza au influențat dansul modern/contemporan.

🧩 Elemente comune între Teoria Dansului și Estetică

1. Frumusețe și expresivitate corporală
   Ambele studiază cum mișcarea exprimă idei și emoții.

2. Armonie și echilibru
   Esențiale pentru o percepție estetică pozitivă.

3. Relația cu muzica și ritmul
   Teoria investighează adaptarea mișcării; estetica evaluează rezultatul artistic.

4. Formă și stil
   Teoria le clasifică, estetica le evaluează vizual și emoțional.

5. Improvizație și spontaneitate
   Apreciată pentru autenticitate și expresivitate.

6. Emoție și simbolism
   Dansul transmite semnificații, interpretate de public prin estetică.

7. Originalitate și inovație
   Valorile estetice și teoretice apreciază inovația stilistică.

8. Relația dansator–public
   Impactul asupra publicului este esențial pentru experiența estetică.

9. Estetica mișcării și tehnică
   O tehnică bună amplifică efectul estetic.

10. Context cultural și tradiții
    Cultura modelează percepția și aprecierea dansului.

🧩 Elemente comune între Estetică și Stil

1. Formă și structură vizuală
   Stilul determină organizarea mișcărilor, estetica le evaluează.

2. Expresivitate și emoție
   Fiecare stil exprimă emoția diferit, ceea ce afectează percepția estetică.

3. Originalitate și inovație
   Stilul devine canalul prin care estetica se exprimă inovativ.

4. Ritm și dinamism
   Stilul definește ritmul; estetica analizează efectul său vizual și emoțional.

5. Costume și prezentare vizuală
   Stilul influențează alegerea costumelor; estetica judecă impactul lor.

6. Influență culturală
   Estetica și stilul sunt ancorate în valori culturale și istorice.

7. Simbolism și semnificație
   Stilul folosește vocabular specific, estetica decodifică semnificațiile.

8. Impactul asupra publicului
   Estetica analizează reacția publicului; stilul modelează această reacție.

On the Relationship Between History, Theory, Aesthetics, and Style in Dance

History, theory, aesthetics, and style are deeply interconnected concepts that help us understand not only how we dance but why we dance the way we do.

🔹 History

History gives us the context of dance. It traces the evolution of movement, pedagogy, performance, and purpose across different cultures and eras. Through history, we understand the roots of ballet—its origins in the courts, its transformation through Romanticism, and its codification into today's academic traditions. Without historical awareness, dance becomes disconnected from its cultural and artistic lineage.

🔹 Theory

Theory provides the framework through which we analyze and interpret dance. It explores questions like:

• What defines classical ballet?

• What is the relationship between form and meaning?

• How do movement, music, and space interact?

Dance theory bridges practice and understanding. It helps dancers, teachers, and researchers articulate the logic and language behind movement—turning instinct into knowledge.

🔹 Aesthetics

Aesthetics concerns the philosophy of beauty and expression in dance. It asks:

• What makes a movement beautiful?

• How do we perceive harmony, grace, or intensity?

• Why do certain gestures or forms move us emotionally?

In ballet, aesthetics are shaped by historical ideals (e.g. symmetry, verticality, epaulement), but also evolve with time and culture. Aesthetic values influence how we train, watch, and interpret dance.

🔹 Style

Style is the visible expression of all the above. It is how a dancer performs within a specific historical, aesthetic, and theoretical frame.
For example:

• The lyrical softness of Romantic ballet

• The sharp clarity of the Vaganova technique

• The grounded power of contemporary movement

Style reflects the time, place, school, and philosophy behind the dance. It is not only what is danced but how it is embodied.

🔗 How They Relate

• History informs theory: Knowing what came before helps us analyze and teach with depth.

• Theory refines aesthetics: Understanding structure clarifies beauty and intention.

• Aesthetics shape style: Our values about beauty guide our stylistic choices.

• Style reflects history: Every movement carries the trace of a cultural moment.

Together, these concepts create a continuum of knowledge that supports both the intellectual and artistic development of dancers and educators. Ballet Continuum Model

🧩 Common Elements between Dance History & Dance Theory

1. Cultural and Social Context

Both dance history and dance theory emphasize cultural and social influences. Dance, in any historical period, is closely tied to its cultural context—whether rooted in religious traditions, folk customs, or modern artistic movements. Dance theory explains how these influences shape dance styles and forms. Dance history documents the changes and developments that occurred due to these social and cultural factors.

2. Evolution of Styles and Techniques

For example, the history of ballet outlines its journey from the royal courts of France to modern theaters, while ballet theory examines posture, technique, and the vocabulary of the style. Dance history tracks the stylistic changes from ritual dances to classical ballet, modern, and contemporary dance. Dance theory analyzes these styles and techniques, offering the tools to understand and classify them.

3. Ritual and Symbolism

From both historical and theoretical perspectives, ritualistic and symbolic dance has played a central role in indigenous and religious cultures—and remains a major topic in modern dance studies. Dance history records these expressions and their social function in ancient societies. Dance theory explores the symbolism and meaning of these movements, explaining how dance can express abstract ideas or religious themes.

4. Functions of Dance in Society

History and theory both recognize the multiple roles dance plays in various contexts. Dance can serve as entertainment, ritual practice, a form of national identity, or a tool for social protest. Dance theory investigates how and why these functions exist. Dance history documents the times and places where dance had a significant societal impact.

5. Relationship Between Dance and Other Arts

In classical ballet history, for example, music and choreography have always gone hand in hand. Dance history shows how dance has often developed in relation to other art forms—such as theater, music, poetry, or visual arts. Dance theory examines how these disciplines interact and influence movement and style.

6. Movement as Language

Both history and theory consider movement as a universal language. Dance history documents the periods and styles where dance was used as communication or aesthetic expression. Dance theory analyzes this "language" from semiotic and philosophical perspectives, studying how movements are interpreted across cultures and time.

7. The Body and Technique

In both areas, the body and technique are essential components.

For example:

• Modern dance theory explores the role of gravity, breath, and center of weight in movement. Modern dance history shows how these techniques were introduced by choreographers like Martha Graham or Isadora Duncan.

• Dance history reveals how techniques evolved based on dominant styles and the function of dance (religious, social, artistic). Dance theory dives deeper into studying the body as a central instrument of dance practice.

8. Aesthetics and Artistic Value

For example:

• Postmodern dance history shows how the art moved away from codified forms. Postmodern theory explains the rejection of traditional conventions in favor of authenticity and movement diversity.

• Dance history traces the evolution of dominant aesthetics—from the symmetry and order of classical ballet to the fragmentation of contemporary dance. Dance theory provides the tools to analyze and evaluate these aesthetics, discussing beauty, expression, innovation, and artistic value.

9. Philosophical and Theoretical Influences

Throughout history, dance has been influenced by different philosophical and theoretical movements.
Modern and contemporary dance, for example, often drew from existentialism, phenomenology, or psychoanalytic theory. Dance theory explores these influences in depth, analyzing how choreographic approaches reflect philosophical ideas. Dance history documents when, where, and by whom these ideas were introduced.

🧩 Common Elements between Dance Theory & Dance Aesthetics

1. Beauty and Bodily Expression

Both disciplines study how bodily movements can communicate emotions and ideas, whether abstract or concrete, and how these influence the aesthetic perception of dance. Dance theory explores how movements can be learned and applied to achieve expression and beauty. Dance aesthetics seeks to define concepts such as beauty and harmony in movement, analyzing what makes a dance appear "beautiful" or "impressive."

2. Harmony and Balance

The concept of balance and harmony is central to dance, and both fields address it in depth. Bodily harmony and movement equilibrium are core to understanding both perspectives. Dance theory analyzes the techniques and principles that lead to balanced movement. Dance aesthetics focuses on how movements are harmonized to create a visually and emotionally pleasing experience.

3. Relationship with Music and Rhythm

Both disciplines emphasize the importance of rhythm and synchronization in dance, both from a technical and aesthetic point of view. Dance theory investigates how dancers adapt movement to match rhythm, tempo, and musical dynamics—shaping the aesthetic result. Dance aesthetics examine how movement aligns with music to produce a unified and coherent artistic experience.

4. Form and Style

Form and style are examined in both fields to understand what contributes to a unique and effective aesthetic experience. Dance theory analyzes and classifies various dance forms and styles (classical, modern, contemporary, etc.) based on structure and technique. Dance aesthetics look at those same forms and styles from the perspective of visual and emotional impact, exploring what makes a style artistically appreciated.

5. Improvisation and Spontaneity

Both approaches acknowledge the value of improvisation in dance as a tool for creative expression and its contribution to the uniqueness of a performance. Dance theory studies improvisation in terms of technique and the skills required to execute it effectively. Dance aesthetics value improvisation for its ability to generate authentic, spontaneous, and expressive movement that may be perceived as beautiful or innovative.

6. Emotion and Symbolism

Both dance aesthetics and theory are concerned with how dance conveys emotion and symbolic meaning. Emotion is essential to the aesthetic perception of dance, while theory explores how dancers amplify expressive content. Dance theory focuses on the structure and mechanisms that allow the body to express these ideas. Dance aesthetics examines how those emotions and symbols are perceived and artistically valued by an audience.

7. Originality and Innovation

Both disciplines appreciate dance's capacity to evolve and introduce new elements that not only respect but also surpass existing conventions. In dance theory, originality is discussed in terms of choreographic innovation and new techniques that can redefine the limits of dance. In dance aesthetics, originality is a key criterion for evaluating a performance or style, viewed as a valuable trait that contributes to artistic appreciation.

8. Interaction Between Dancer and Audience

The connection between performer and audience is essential in creating a successful aesthetic experience. Both disciplines explore how this connection can be cultivated. Dance theory addresses the dynamics of performance and how the dancer uses space and movement to engage and influence the audience. Dance aesthetics focuses on how performances are perceived by the audience and how this relationship shapes the artistic experience.

9. Movement Aesthetics and Technique

Technique and aesthetics are closely linked, as well-executed technique enhances the aesthetic impact of a performance. Dance theory explains the technical foundations of movement and how they lead to aesthetic results, defining how movement should be performed to be considered "beautiful" or expressive. Dance aesthetics focuses on the visual qualities of movement—fluidity, grace, strength—and its emotional impact on the viewer.

10. Cultural Context and Traditions

Both fields recognize the influence of cultural traditions on how dance is practiced and appreciated. Dance theory analyzes dances from various cultures and traditions, examining how techniques and styles vary across historical and cultural contexts. Dance aesthetics value the diversity and beauty of these traditions, analyzing how culture shapes the aesthetic perception of dance.

🧩 Common Elements between Dance Aesthetics & Dance Style

1. Form and Visual Structure

• Dance aesthetics focuses on the visual aspects of movement—such as beauty, balance, and harmony in the body’s motion—and how these movements are perceived as pleasing or meaningful. Dance style refers to the specific way movements are organized. Each dance style (ballet, modern, contemporary, hip-hop, etc.) has a distinct visual structure that contributes to the overall aesthetic of a performance.

2. Expressiveness and Emotion

• Aesthetics explores how dance communicates emotions and ideas through movement, evaluating how expressive and emotionally resonant a performance is—crucial for appreciating its beauty and meaning. Style largely determines how emotions are expressed. For example, classical ballet tends to be more formal and graceful, while contemporary dance allows for freer and more emotional expression. The aesthetics of each style are tied to its specific expressive character.

3. Originality and Innovation

• Dance aesthetics value originality in the way movements are presented and perceived. An innovative aesthetic can redefine what is considered beautiful or interesting in dance. Style is often the place where originality appears. While traditional styles have established rules and conventions, dancers and choreographers can innovate within or beyond these frameworks to create a unique aesthetic.

4. Rhythm and Dynamism

• Dance aesthetics evaluate rhythm and movement fluidity, focusing on how dynamics and synchronization affect the viewer’s perception. Style defines the rhythm and dynamic quality of movement within each genre. For example, urban dance styles like hip-hop feature very different rhythms and energy compared to classical ballet, shaping the aesthetic experience of each.

5. Costumes and Visual Presentation

• Dance aesthetics also include visual presentation—such as costumes, set design, and lighting—which all contribute to the audience’s aesthetic experience. Style influences costumes and visual presentation, as each style has specific aesthetic expectations for attire and staging. For instance, classical ballet uses elegant costumes and tutus, while contemporary dance may opt for minimalist clothing.

6. Cultural Influence

• Dance aesthetics are often shaped by the cultural and historical context in which it is created. Perceptions of beauty and movement vary across cultures. Style is also determined by the culture it originates from. For example, traditional African or folk dances have distinct styles that reflect the cultural and historical values of their communities, and the aesthetics of these styles are appreciated differently than Western dance forms.

7. Symbolism and Meaning

• Dance aesthetics examines the symbolism in movement and how it conveys messages or emotions to the audience. Style deeply influences the meaning of movement. Each style has its symbolic vocabulary—for instance, precise gestures in ballet may carry strong symbolic weight, while abstract movements in contemporary dance may invite open interpretation.

8. Audience Impact

• Dance aesthetics considers how a performance is perceived by the audience and the emotional or visual impact it creates. Style influences how the audience experiences a performance, as each style creates different expectations and involves specific modes of

Dance Continuum / Dance Theory

The Power of Presence: Ballet, Beauty, and Becoming at NdB

An essay inspired by the 4th reprise of Don Quixote, performed by the Ballet of the National Theatre Brno on May 2, 2025.

Pictures@NdB - New Principals at NdB

In the luminous space of the Janáček Theatre, the 141st season of the National Theatre Brno unfolded with elegance and passion, presenting the fourth reprise of Ludwig Minkus' Don Quixote under the poetic choreography of José Carlos Martinez. More than a performance, it was an act of cultural celebration and embodied artistry—one that culminated in the well-deserved promotion of the interpreters of Kitri and Basil to the rank of principal dancers within the company.

Honoring the dancers of the NdB is to acknowledge a discipline that transcends physical effort. It is to witness the convergence of cognitive intention and emotional precision. The role of Kitri, danced with spirited finesse by Momona Sakakibara, was a marvel of character-driven interpretation. She did not merely dance; she became Kitri. Likewise, Shoma Ogasawara brought Basil to life with masculine energy and lyrical athleticism, forming a dynamic and compelling partnership with Sakakibara’s Kitri. Their chemistry animated the stage with vitality and charm. Captivating was also the pairing of Se Hyun An as the fierce and seductive Mercedes with Adam Ashcroft’s elegant and commanding Espada—a duet that radiated passion, tension, and stylistic contrast.

This performance was also a testimony to ensemble excellence. From Nanaka Ogawa's ethereal Dryad Queen to the precise ensemble work of the corps de ballet, each role served a purpose in the narrative tapestry. Supporting roles like Sancho Panza (Hugo Martinez) and Don Quixote (Dillon Perry) reminded the audience that humor and poetry can coexist seamlessly on stage.

Behind this brilliance stood a dedicated creative team: costume designers Iñaki Cobos Guerrero and Roman Šolc, scenographers, choreographic assistants, lighting designers, and musical directors who breathed structure and atmosphere into the vision. Their work exemplifies that ballet is never the sum of isolated efforts but a synthesis of vision, memory, discipline, and art. Perhaps the most important figure in setting the artistic tone of the company, however, remains the artistic director.

At the helm of the National Theatre Brno Ballet is Mário Radačovský, whose leadership since the 2013/2014 season has been instrumental in elevating the company's artistic profile. A Slovak native, Radačovský's illustrious career began after graduating from the Eva Jaczová Dance Conservatory in Bratislava. He joined the Slovak National Theatre Ballet in 1989, quickly rising to the rank of soloist. His international experience includes performing with Jiří Kylián’s Netherlands Dance Theatre, where he collaborated with renowned choreographers such as Mats Ek, Nacho Duato, Ohad Naharin, William Forsythe, and Édouard Lock. In 1999, he became the principal dancer of Les Grands Ballets Canadiens in Montreal. Returning to Slovakia, he served as the Artistic Director of the Slovak National Theatre Ballet from 2006 to 2010 and later founded Ballet Bratislava. In 2018, he completed a master's degree in choreography at the Academy of Performing Arts in Prague.

Radačovský's vision for the Brno company emphasizes a balance between classical and contemporary repertoire, aiming to transform it into a world-class ensemble. In addition to his artistic programming, he has enhanced the company's structure and long-term sustainability by introducing NdB2, a youth company that nurtures emerging talent, and NdB3, a platform for elder dancers—both inspired by the model of Jiří Kylián. These initiatives have added significant value to the institution, expanding its social and generational relevance.

To honor the ballet dancers of NdB is to honor the deep intelligence of the body, the endurance of tradition, and the power of ephemeral beauty made visible, night after night—a true manifestation of the power of presence that gives meaning to ballet, beauty, and becoming.

Functions and Relevance of Higher Studies in Classical Dance

Sir Peter Wright rehearsing Simona Noja in the role of Aurora (Sleeping Beauty)

The question "What is the purpose of higher studies in classical dance?" touches the core of the value of education in performing arts. In the case of academic ballet, the answer involves a complex, interdisciplinary, and profoundly formative approach:

a) Formation of Conscious Artists, Not Just Performers: A cultivated dancer, familiar with the history, aesthetics, and stylistics of ballet, becomes:

• An interpreter with depth and artistic intention;

• A bodily communicator capable of conveying meaning, context, and emotion;

• A responsible creator, aware of the tradition they belong to and the impact of their own approach.

b) Development of a Critical Basis for Research and Innovation: University studies in classical dance offer openness to fields such as:

• Dance anthropology – for understanding the phenomenon in a socio-cultural context;

• Aesthetics – for investigating how dance produces emotion, symbol, and meaning;

• Stylistics – for differentiating between various schools and pedagogical approaches;

• Dance theory and methodology – for grounding pedagogy and choreographic creation.

Through this, the dancer becomes a researcher, pedagogue, and innovator simultaneously.

c) Dialogue Between Classical Dance and Other Arts or Social Domains: Through knowledge of history and theory, the student understands:

• The evolution of dance depending on social, political, and cultural context;

• Connections between dance and other arts – music, painting, literature, theater;

• The role of dance in contemporary artistic responses to themes such as identity, gender, or globalization.

An educated dancer becomes an agent of artistic reflection and a bodily thinker, not just a spectacular performer.

d) Diversification of Career Opportunities: A graduate of a classical dance program can access multiple professional roles:

• Ballet teacher or coach;

• Choreographer with an articulated aesthetic vision;

• Dance critic, researcher, or movement dramaturge;

• Cultural manager, curator, or artistic consultant.

Without a solid theoretical foundation, many of these options remain inaccessible.

e) Dignity and Legitimacy of the Art of Dance: Dance is often marginalized as a "decorative" or "inferior" art. Academic study:

• Elevates it to the level of an intellectual and analytical art;

• Provides it with a legitimate framework in academic culture;

• Allows the integration of dance into national and international

Conclusion:

A higher education in classical dance represents more than just professional training—it is a form of intellectual deepening, a humanization of artistic practice, and an opening toward interdisciplinary dialogue. It prepares artists who not only perform dance but also understand it, analyze it, teach it, and develop it, transforming it into an act of reflection and knowledge.

#dancehigheducation #simonanojanebyla #dancetheory

Book Presentation: Techniques and Methods in Classical Dance, by Dr. Nicoleta Demian

Nicoleta Demian

The volume Techniques and Methods in Classical Dance, authored by Nicoleta Demian, is a specialized work dedicated to the in-depth study of classical dance, focusing on its technical, aesthetic, and methodological aspects. The book is rigorously structured, with a clear orientation towards pedagogical and artistic training, addressing students in choreography, as well as teachers, ballet masters, coaches, and all those passionate about ballet who wish to deeply understand the complexity of this artistic language.

Structure of the Work:

• Argument

• Part I – Fundamentals of Classical Dance

• Part II – The Classical Dance Lesson: Spatial-Temporal Dimension and Expressivity

• Part III – The Pedagogical Dimension of Classical Dance

• Conclusion

Purpose of the Work: The work proposes a theoretical, analytical, and systematic approach to classical dance technique, aiming to define and clarify the essential concepts of ballet through a proprietary system of analysis. The book updates and supplements the information previously presented in the volumes published in 2010 and 2012, building a solid foundation for the choreographic educational process.

Author's Vision: The author asserts that the methodology of teaching classical dance is essential in the scientific research of this field and in the development of current choreographic education. Nicoleta Demian considers the dancer's body as an expressive instrument that must be "tuned" and harmonized with the mind to convey emotions and ideas. The learning process, in her view, is profoundly practical but also requires a solid theoretical foundation and a deep understanding of technical principles.

Furthermore, the author acknowledges the importance of the over 350-year tradition of classical ballet but emphasizes its dynamism, highlighting the influence of contemporary choreography innovations in the teaching process. She advocates for terminological clarity and conceptual rigor, rejecting erroneous theories propagated by some charismatic but scientifically unfounded pedagogues.

Fundamental Principles of Classical Dance Technique, According to Nicoleta Demian:

1. Outward rotation (en dehors) of the leg muscles

2. Specific positions of the body, legs, and arms

3. Fundamental movements (executed par terre, en l’air, through jumps, or en pointes)

4. Realization of the dance form

Content and Utility: The book is structured into three parts, preceded by an introduction and concluded with a conclusion, offering a solid theoretical and methodological foundation. It analyzes exercises at the barre and center, along with didactic guidelines regarding the organization of lessons in the context of vocational artistic education.

The tone of the work is academic and formative, combining the author's pedagogical experience with critical reflection on current practices in classical dance.

Consolidation of Classical Dance as an Academic Discipline: The book makes a significant contribution to the academization of classical dance, proposing a unified professional vocabulary and a structured approach in a field often perceived as exclusively practical or artistic. Within higher education institutions with a choreographic profile, such a work enables:

• Building a solid theoretical framework for courses, exams, and research activities;

• Alignment with international standards in choreographic education;

• Facilitating coherent and reproducible teaching, comparable to methods used in prestigious ballet schools worldwide.

University Professors and Trainers of Future Dancers or Choreographers Benefit From:

• Clear lesson structures with well-defined methodological stages;

• Applicable didactic methodologies in various contexts;

• Technically analyzed exercises in rhythm, style, and space, adaptable to each student's level.

     For Students in Choreography, Dance Pedagogy, or Performing Arts Specializations, the Work Offers:

• A reference theoretical manual;

• Learning and self-evaluation guides are essential for individual development;

• Tools for conceptualizing movement beyond the intuitive level, towards a reflective and rational understanding of the moving body.

   Support for Scientific Research in Performing Arts: In the current context of developing research in the performing arts field in Romania, this work represents:

• A valuable scientific resource for bachelor's, master's, and doctoral theses;

• Support for comparative and interdisciplinary studies in areas such as psychopedagogy, movement biomechanics, or applied aesthetics;

• A starting point for professionalizing the discourse on dance, promoting a transition from artistic impression to rigorous and argumentative analysis.

Moreover, in a context where classical dance is often dominated by Russian or French models, such a Romanian work:

• Affirms the value of academic training in Romania;

• Demonstrates the existence of authentic local expertise in classical dance pedagogy;

• It can serve as a methodological benchmark in the national choreography curriculum.

Techniques and Methods in Classical Dance, authored by Nicoleta Demian, serves as a comprehensive and well-documented methodological tool for the profound understanding and rigorous teaching of classical dance. Offering both theoretical foundations and practical applications, the author successfully articulates a modern didactic approach, well anchored in the tradition of academic ballet, yet open to innovation and interdisciplinarity. Through the clarity of its structure and richness of content, the volume stands as an essential guide in the training of dancers and educators in contemporary choreography.

soon available here

Dance Theory -Module 1- On the Relationship Between History, Theory, Aesthetics, and Style in Dance

In the world of dance—especially classical ballet—history, theory, aesthetics, and style are deeply interconnected concepts that help us understand not only how we dance, but why we dance the way we do. Ballet Knowledge for Independent Thinkers

Dance Theory -Module 1- On the Relationship Between History, Theory, Aesthetics, and Style in Dance

Simona Noja-Nebyla during the pilot-project Noja-Nebyla STAGE Education, Vienna 2020-2022

Od bábok k obeti: Noc Stravinského modernizmu, 5. apríla 2025: Premiéra Stravinského baletov Petruška a Svätenie jari v divadle SĽUK, so Slovenským ľudovým umeleckým kolektívom (SĽUK) Bratislava

Reflexie Dr. Simony Noja-Nebyla v tvorivom dialógu s Borisom Nebylom

Mali sme tú česť zúčastniť sa premiéry Stravinského Petrušku a Svätenia jari v divadle SĽUK v Bratislave v podaní SĽUK-u (Slovenský ľudový umelecký kolektív), slovenského národného folklórneho súboru. SĽUK, založený v roku 1949, sa stal najvýznamnejším profesionálnym slovenským folklórnym súborom s cieľom uchovávať, interpretovať a rozvíjať slovenské ľudové tradície – najmä prostredníctvom tanca, spevu, krojov a rozprávania príbehov. Hoci vychádza z tradičnej ľudovej kultúry, SĽUK v priebehu rokov rozšíril svoj umelecký jazyk – niekedy začleňujúc súčasné, divadelné, ba dokonca baletné prvky do svojich predstavení. Je predovšetkým národným folklórnym súborom, no je známy aj tým, že posúva hranice kreativity – čo robí jeho inscenácie diel ako Petruška či Svätenie jari obzvlášť výnimočnými, keďže tieto diela nepatria do tradičného folklórneho kánonu, no môžu byť pretvorené cez jeho jedinečný pohľad.

V nekonvenčnom choreografickom výklade sme boli svedkami spolupráce profesora (Igor Holováč, choreograf Petrušku) a jeho bývalej žiačky (Hana Vidová, choreografka Svätenia jari). Táto inscenácia nepredstavila len dve tanečné diela, ktoré predefinovali hudbu a tanec 20. storočia (pôvodná produkcia vznikla v spolupráci Stravinského, Fokina a Benoisa pre Ballets Russes Sergeja Ďagileva v Paríži v roku 1911), ale zároveň kládla výzvy 21. storočia v oblasti vzdelávania a umeleckosti.

S použitím Goetheho poznania – že „každý počuje iba to, čomu rozumie“ – si trúfame tvrdiť, že všetci tvorcovia a spoluautori večera prenikli do svojich diel s hlbokým premýšľaním a emóciou, čím na javisko priniesli jedinečné, často skryté aspekty ľudskej duše. Najsilnejšie dojmy, ktoré po spadnutí opony doznievali, boli bohaté a viacvrstvové: umelecké odkazy o tom, ako pohanské rituály stále rezonujú v nás skrz hudbu a pohyb; ukážka vzdelávania ako spolupráce medzi učením a vyučovaním; inovatívne použitie baletného jazyka na rozšírenie repertoáru tradičných tanečných súborov; vznik výnimočných predstavení s tancom v hlavnej úlohe – v reálnych finančných podmienkach; a rozvoj miestnych talentov pri vytváraní individuálneho choreografického prejavu cez interpretáciu univerzálnych kultúrnych tém.

Petruška
Prvý balet večera, Petruška, v choreografii Igora Holováča, „rozpráva príbeh troch bábok s ľudským srdcom, oživených kúzelníkom počas karnevalu v Petrohrade. Petruška (napoly komická, napoly tragická postava) sa zamiluje do Baleríny, no prehráva súboj o jej srdce so silnejším Mourom. Pôvodný príbeh troch bábok nesie hlboké, stále aktuálne posolstvo. V súčasnej interpretácii pribúda aj téma manipulácie: každý sa môže stať bábkou v rukách manipulátora, no každý sa môže aj manipulátorom stať.“

Petruška je postava bohatá na symboliku a archetypálne významy – komická aj tragická zároveň – vysmievaná, no schopná hlbokého citu. Možno ho vnímať ako tragického klauna alebo svätého blázna – postavu, ktorú ostatní odmietajú a podceňujú, no je schopná niesť emocionálnu pravdu a morálny vhľad. Kristián Sorokáč ako Petruška vyvoláva empatiu cez svoje utrpenie a autenticitu – napriek tomu, že je „len“ bábkou. V jeho interpretácii vidíme aj rebela, toho, kto nezapadá do spoločenských noriem a odporuje uloženým rolám – duša uväznená v tele, ktoré mu nepatrí, bojujúca proti ovládaniu až do smrti. Kristián Sorokáč nám umožňuje predstaviť si, že aj bábka môže cítiť, milovať a trpieť – čo vyvoláva otázku: ak to dokáže bábka, prečo by to nedokázal aj človek?

Balerína v Petruškovi je tiež fascinujúca postava, zapadajúca do určitých archetypov. Je kľúčovou postavou v emocionálnom a príbehovom oblúku baletu a podobne ako Petruška, aj jej rola umožňuje rôzne výklady. Aj keď nekoná so zlým úmyslom, jej krása a náklonnosť (spočiatku venovaná Petruškovi, no rýchlo sa presúva k Mourovi) sú katalyzátormi tragických udalostí. Predstavuje ideál lásky, ktorý je pre Petrušku nedosiahnuteľný. Sofia Bendovská interpretuje túto postavu skôr ako nevinnú bytosť než múzu – je objektom túžby Petrušku aj Moura. Obaja ju vidia ako ideál krásy a lásky – pasívny symbol toho, po čom túžia, no nemôžu to mať. Nie je zlá, ale jej správanie a romantické rozhodnutia rozpútajú konflikt medzi Petruškom a Mourom. V mnohých ohľadoch si neuvedomuje hĺbku Petruškových citov, ani tragédiu, ktorá sa okolo nej odohráva – čo Sofia Bendovská veľmi dobre vystihla.

Mour, v podaní Dominika Lukáča, predstavuje antagonistu, ktorý Petrušku prekonáva a zosmiešňuje. Je objektom Petruškovho žiarlivého hnevu. Predstavuje tyranskú silu, ktorá ničí Petruškov citový svet. Ako protivník v milostnom trojuholníku je symbolom temnejšej stránky ľudskej povahy: agresie, rivality a nespútanej vášne. Zatiaľ čo Petruška je duchovný, citový, Mour zosobňuje potlačené inštinkty a fyzickú silu, ktorú Petruška nedokáže uplatniť.

Kúzelník, v podaní Vladimira Frištika, je ten, kto bábky oživí a uvádza ich do pohybu. Riadi ich osudy, hoci si to samy neuvedomujú. Vytvára svet, kde sa tragédia odohráva, no sám zostáva citovo nezainteresovaný. Je to majster manipulácie – postava na pomedzí božskej moci a ľahostajnosti, čo odhaľuje temnejšie vrstvy nášho vnímania osudu.

Scéna a kostýmy Petra Čaneckého čerpajú z Benoisovho konceptu prepojenia ruskej ľudovej tradície s emocionálnym symbolizmom. Namiesto farebného chaosu fašiangového jarmoku sme však vtiahnutí do metamoderného „pocitového štruktúrneho rámca“, kde sa tradícia prelína s inováciou. Bežné objekty ako stoličky sa stávajú súčasťou príbehu – prostriedkami i zbraňami.

Dramaturgia Petrušku, podpísaná Evou Gajdošovou, zohrala zásadnú úlohu pri vytváraní emocionálnej a naratívnej hĺbky predstavenia. Kombinácia folklóru a psychologickej hĺbky umožnila nadčasový i súčasný zážitok z príbehu, kde je každá slza bábky zároveň našou vlastnou.

Svätenie jari
Svätenie jari malo svoju premiéru v roku 1913 (hudba: Igor Stravinskij, choreografia: Vaslav Nižinskij, libreto: Stravinskij a Nicholas Roerich) ako pôvodná produkcia pre Ballets Russes v Théâtre des Champs-Élysées v Paríži.
Od začiatku bolo Svätenie jari koncipované ako balet – radikálny a prelomový. Zobrazovalo pohanské rituály vrcholiace obetným tancom vyvolenej devy. Stravinského rytmická komplexnosť a Nižinského revolučná choreografia z neho urobili jedno z najšokujúcejších a najvplyvnejších tanečných diel v dejinách.

Svätenie jari v choreografii Hany Vidovej je svedectvom choreografickej odvahy niesť oheň minulosti a pretvárať ním budúcnosť.
„Igor Stravinskij čerpal tému svojho diela z mytológie obdobia, keď pohanské rituály dominovali ruskému životu. Každý rok bola jar rituálne vykúpená ľudským životom, a iba tak, podľa povery, mohla byť zaručená plodnosť zeme po zime. Obsahom baletu je pohanský pohľad na prebúdzanie prírody po zimnom spánku a obnova ľudského života prostredníctvom obety vyvolenej bytosti. Starí veštci sedia v polkruhu a sledujú tanec smrti mladej dievčiny, ktorú obetujú bohu jari, aby získali jeho priazeň. V tejto adaptácii však jej staršia sestra vezme osud do vlastných rúk – rozhodne sa obetovať namiesto nej. Tento čin premieňa príbeh na drámu o sile sesterskej lásky, o voľbe a o tom, kto napokon nesie bremeno obety.“

Vidovej verzia Svätenia jari je explicitne inšpirovaná pohanskými rituálmi – najmä myšlienkou obetného rituálu na zabezpečenie obnovy zeme. Jej choreografia sa dotýka tém, ktoré zostávajú silné aj dnes: telesný rituál, v ktorom sú pohyby tanečníkov uzemnené, rytmické a kolektívne – pripomínajúce starodávne kmeňové tance. Radosť je zmiešaná s nebezpečenstvom, strach s obetou. Aj keď dnes už tieto rituály nevykonávame doslovne, cítime ich silu – ich rytmus, kolektívnu emočnú energiu, akoby sme sa dotýkali niečoho zakódovaného hlboko v kolektívnom nevedomí.

Téma Vyvolenej, ktorá sa obetuje, je archetypálna. Vzbudzuje nadčasové otázky: Čo musíme obetovať, aby mohla prísť zmena? Aká je cena prežitia alebo pokroku? Tieto otázky sú stále aktuálne, aj keď už neveríme v doslovné obety. Ako sa v technologizovanom svete znovu napojiť na rytmy prírody?

Ako v nás pohanské rituály stále rezonujú cez hudbu a pohyb?
Hoci boli tieto balety vytvorené na začiatku 20. storočia, stále k nám prehovárajú, pretože sa dotýkajú archetypálnych skúseností: lásky, moci, obety, osudu, komunity, smrti a túžby po transcendentne. Duch Petrušku, ktorý sa na konci objaví – či už posmešne alebo smutne – evokuje myšlienku, že duch prežíva ďalej, že emocionálna pravda nemôže byť zabitá. Pripomína nám starodávne viery o nesmrteľnosti duše a o tenkej hranici medzi svetmi počas sviatočných dní.

Premiéra Stravinského Petrušky a Svätenia jari v divadle SĽUK v Bratislave v nás prebudila niečo hlbšie – pripomenula, že pod modernou fasádou našich životov tieto staré rituály stále bijú v nás. Rozumieme im dostatočne na to, aby sme ich mohli „počuť“? Alebo ich „počujeme“ ešte predtým, ako ich pochopíme?

Čo znamená ukážka vzdelávania ako spolupráce medzi učením a vyučovaním, ktorá zdôrazňuje jemné puto medzi tým, čo učiteľ zamýšľa, a tým, čo žiak pochopí?
Ukážka vzdelávania ako spolupráce medzi učením a vyučovaním poukazuje na to, že učenie nie je jednosmerné odovzdávanie vedomostí, ale spoločný, dynamický výmenný proces. Učiteľ prináša poznanie, vedenie a inšpiráciu, no to, ako ich žiak prijme, pochopí a stelesní, závisí od jeho skúseností, citlivosti, kreativity a interpretácie. „Jemné puto“ označuje neviditeľné vlákno spájajúce úmysel a porozumenie – to, čo chce učiteľ odovzdať, a to, ako to žiak vníma a pretvára. V kontexte choreografie a tanca sa toto puto stáva viditeľným a poetickým: profesor (ako Igor Holováč v Petruškovi) tvorí s určitým zámerom, zakoreneným v tradícii alebo jeho filozofii. Žiačka (ako Hana Vidová v Svätení jari) tieto poznatky prijíma a rozvíja – pridáva vlastnú víziu, prispôsobuje ich novému kontextu, možno ich aj spochybňuje alebo pretvára.

Predstavenie sa tak stáva živým stelesnením tohto procesu. Ukazuje, ako sa poznanie vyvíja, keď je odovzdávané ďalej. Uctieva základy položené mentorom, no zároveň poskytuje priestor pre originalitu žiaka. Potvrdzuje, že skutočné vzdelávanie nie je napodobňovanie, ale interpretácia a transformácia. V tejto inscenácii dialóg medzi Holováčom a Vidovou – jemný, rešpektujúci, no zároveň osobitý – dokazuje, že učenie nie je o vytváraní kópií, ale o pokračovaní. Je to krásny dôkaz toho, že vzdelanie žije cez dôveru, vrstvené porozumenie a umeleckú odvahu.

Obe choreografie – Petruška aj Svätenie jari – ukazujú, ako sa jazyk klasického baletu dá použiť nie ako obmedzenie, ale ako flexibilný a expresívny nástroj, ktorý obohacuje umelecký repertoár tradičných tanečných súborov.

V Petruškovi Igor Holováč pretavil klasickú štruktúru do pohybu vedeného postavou, čerpajúc z expresívnej baletnej techniky a zároveň integroval prvky pantomímy a štylizovaných folklórnych gest. Jeho prístup rešpektoval korene tradičného baletného idiómu, no zároveň ho rozšíril tak, aby obsiahol rozprávanie príbehov dotýkajúcich sa súčasných tém ako identita, manipulácia či odpor. Výsledkom bola svieža interpretácia, ktorá pôsobila zároveň známo aj nanovo aktuálne.

V Svätení jari Hana Vidová posunula pohybový slovník ešte ďalej – spojila presnosť akademického baletu s drsnou, uzemnenou fyzikalitou, typickou pre súčasný alebo dokonca rituálny tanec. Týmto spôsobom vyzvala tanečníkov aj divákov, aby balet vnímali ako zmyslový, kolektívny a elementárny zážitok, ktorý dokonale rezonuje s pôvodnou silou Stravinského hudby. Jej dielo rozšírilo predstavu o tom, čo všetko môžu baletné súbory uvádzať – presahujúc klasické naratívy k existenciálnym, rituálnym a emocionálne intenzívnym obsahom.

Táto produkcia ukázala, ako môže inovatívne používanie tanečného jazyka slúžiť zároveň ako most k tradícii a cesta k evolúcii – rozširujúc výrazové možnosti tradičných tanečných súborov vrátane klasických baletných základov ich tanečníkov. Zároveň zdôraznila dôležitosť podpory domáceho talentu a poskytovania priestoru pre mladých choreografov, aby si rozvíjali vlastný umelecký hlas.

Diela Igora Holováča a Hany Vidovej, hoci každé odlišné, čerpajú z univerzálnych kultúrnych tém – lásky, obety, identity, premeny – a pretvárajú ich do hlboko osobných choreografických interpretácií. V tomto procese ukazujú schopnosť artikulovať jedinečný pohľad, formovaný mentorským vedením aj kultúrnym dedičstvom.

Tento tvorivý dialóg medzi tradíciou a inováciou potvrdzuje silu vzdelávania, spolupráce a miestneho autorstva pri formovaní živej a na budúcnosť orientovanej tanečnej krajiny. Spolu obe choreografie ukázali, že tradičné tanečné súbory sa môžu vyvíjať nie opustením svojich koreňov, ale ich reinterpretáciou – premenou zdedených foriem na silné nástroje pre súčasný umelecký výraz.

Obsadenie z 5. apríla 2025

Petruska
Scéna a kostýmy: Peter Canecký
Dramaturgia: Eva Gajdosová
Svetelný dizajn: Igor Holovác
Choreografia a rézia: Igor Holovác
Petruska: Kristián Sorokác

Kúzelník: Vladimir Fristik

Balerína: Sofia Benkovská
Maur: Dominik Lukác
Dámy:
Dorota Bystrianska
Lenka Gondová
Ema Jirku
Kristýna Krepelková
Páni:
Matús Kotul'ak
Matej Oskera

Svätenie jari
Choreografia a rézia: Hana Vidová
Svetelný dizajn: Hana Vidová
Saman: Kristián Sorokác

Obeta: Viktória Purdeková
Sestra: Zuzana Demcáková
Priatel: Dominik Lukác
Dámy:
Kristína Bazányová
Kristína Cicáková
Lucia Halamová
Veronika Lenártová
Pavlína Sojáková
Páni:
Samuel Matas
Jakub Serence
Adrián Skácel
Adam Sobol
Matej Oskera

#igorholovac #hanavidova #petrushka #riteofspring #sluk #Petruška #Svätenie jari