The Slavs possess a rich cultural and historical heritage, and a high creative potential. The Slavs are closely connected with nature, and virtually all the traditional customs and rituals are derived from the principle of this unity. The Slavs are easy to adapt and become accustomed to other ethnic milieus. An art form cannot be questioned – your origin, the place you hail from. The careful attention the Slavs pay to composers, to the melancholy Slavic soul, has a physical tenderness. Katarzyna, Andrey and Ondřej are choreographers endowed with unique visions and talent, artists characterised by an emotional purpose.
Kristýna Němečková, Photo: Pavel Hejný
The current season of the Czech National Ballet will culminate with the world premiere of the mixed bill Slavic Temper.
The three works that make up the production – Aspects, Dumka and Perfect Example – are inspired by the Slavic soul and imbued with the energy of their creators: Poland’s Katarzyna Kozielska, Ondřej Vinklát from the Czech Republic and Russia’s Andrey Kaidanovskiy. Three choreographers possessing unique visions and talent, a sense for expressing emotions, as well as the typical Slavic vivacity. For the first time together within the triple bill Slavic Temper, which will receive its world premiere on 14 June 2018 at the New Stage of the National Theatre!
The three young creators present singular views of human society, while showing that life may also be comprehended lyrically, as a poem. All three pieces have been directly conceived for the Czech National Ballet.
KATARZYNA KOZIELSKA – ASPECTS
Moods are the way each of us experiences life in this world.
Moods are connected with our very being.
To be wise, your aim (and will) should be to enjoy being.
Why not? Life is a waltz. The waltz of living. Don’t look at your feet. 1-2-3, 1-2-3. 1-2-3.
Enjoyment is the thing.
Born in Zabrze, Poland, Katarzyna Kozielska received her initial dance training at the State Ballet School in Bytom. Subsequently, she attended the John Cranko Schule in Stuttgart. In 2000, she joined the Stuttgart Ballet as an apprentice, in 2001 she was taken into the corps de ballet, and in 2006 she was appointed a demi-soloist. She has danced a wide variety of classical, neo-classical and contemporary roles in works by George Balanchine, John Cranko, Glen Tetley, John Neumeier, Mauro Bigonzetti, Marco Goecke, and others.
In July 2011, Katarzyna Kozielska created her first choreography for the renowned Noverre-Society’s Young Choreographers programme. Der richtige Ort for four Stuttgart Ballet dancers was lauded by the audience and critics alike. In 2012, her second choreography, Blender, also for the Noverre Society, received its world premiere. Subsequently, she created Finger, Child of Tree, Symph, Palpitation, A. Memory and other works. In 2014, the Stuttgart Ballet premiered A. Memory, the fruit of her collaboration with the American sculptor Janet Echelman. In 2016, her second piece for the Stuttgart Ballet, Neurons, received its world premiere at the Play House. In February 2017, the Stuttgart Ballet presented, Dark Glow, her third work for the company. In March 2018, she created her latest choreography for the Stuttgart Ballet, Take Your Pleasure Seriously.
In 2012, the prestigious magazine Ballet/Tanz named Katarzyna Kozielska a “Young Choreographer to Watch”.
ONDŘEJ VINKLÁT – DUMKA
Antonín Dvořák’s Dumka No. 4 enthralled me upon the very first listen. I put it on over and over again, imagining meeting someone whom I know and to whom I feel very close. I felt as though I really were with that person, experiencing moments of happiness and careless childhood. And whenever the main motif reoccurred following the sweep of euphoria, it assured that it was gone …
Born in Liberec, Ondřej Vinklát is a graduate of the Prague Dance Conservatory (2011). While still a student, he joined the Bohemia Ballet, where he excelled in solo parts in the productions Bolero and Rose (chor.: P. Zuska), Sinfonietta (chor.: P. Šmok), Le Papillon (chor.: P. Lacotte), Indigo Rose, Un Ballo (chor.: J. Kylián), and Dekka pod dekou (chor.: V. Konvalinka, T. Rychetský). A versatile and charismatic dancer, he is capable of performing in classical and contemporary works alike.
In 2012, he was engaged by the Czech National Ballet, where a year later he was named a soloist and in 2016 a first soloist. His repertoire includes the roles of Basil in Don Quixote, Krabat in The Sorcerer’s Apprentice, Romeo in Romeo and Juliet, Knight Danceny in Valmont, the Golden Buddha in La Bayadère, Father in The Nutcracker and the Cuddly Mouse, Kay in The Snow Queen, the Prince in The Little Mermaid, and others. He has also shown his talent and charisma in modern choreographies, including Petr Zuska’s Solo for the Two of Us and Tremble, Ohad Naharin’s decadance, Jiří Kylián’s Field Mass, William Forsythe’s In The Middle Somewhat Elevated, Jerome Robbins’s Fancy Free, Alexander Ekman’s Cacti, and Viktor Konvalinka’s GURU. In the 2017/18 season, he dazzled in the premiere of the production of Glen Tetley’s Le sacre du printemps within the mixed bill Timeless; he was awarded the Thalia Prize 2017 for the portrayal of the Chosen One. In 2013, Ondřej Vinklát received the prestigious accolade for his performance of Romeo in Petr Zuska’s ballet Romeo and Juliet.
Ever since the time of his studies, he has gravitated towards choreographing. In 2015, Ondřej Vinklát, Marek Svobodník and Štěpán Pechar assumed the lead of the DekkaDancers, and went on to create a number of original works: Červenej čudlik (Red Gadget, Vinklát and Pechar), Přesně včas (Just in Time, Vinklát and Pechar), Křehký vrh (Tender Toss, Vinklát and Pechar), Proměna (Metamorphosis, Vinklát and Pechar), Poslední večeře (The Last Supper, Vinklát, Svobodník, Pechar). Moreover, Ondřej Vinklát has created the choreographies Jakoby (As It Were), All Washed Out, Bit Of Soul, Teď na druhou (Now Squared).
ANDREJ KAJDANOVSKIJ – PERFECT EXAMPLE
Perfect Example is a loose succession of scenes about a group of individuals, a people, a nation. This group lives in a system that claims to create a perfect community. And perfection means: there are no difficulties, no differences, no problems of any kind. To reach this goal, it’s necessary to take drastic measures, and the individual has to curb his/her necessities in the name of the people.
But the longer this goes on the more urgently the questions arise: Is this really in the best interest of the people? Is there really a system, or is it just an experiment? Are the people just guinea pigs in search of an answer to the question: How close to being one can we get before different opinions tear everything apart? And how much are we willing to pay, to set the perfect example?
Born in Moscow, Andrey Kaydanovskiy studied at the Bolshoi Ballet Academy, the Ballettkonservatorium in St. Pölten, the John Cranko Schule in Stuttgart and the Ballettschule der Wiener Staatsoper. After completing his education, in 2007 he joined the Wiener Staatsoper, where in 2015 he was named a demi-soloist. He has performed solo roles in the classical ballets La Sylphide, Swan Lake, Don Quixote, Giselle, La Fille mal gardée and Manon, as well as in contemporary pieces, by Jorma Elo, Paul Lightfoot, Alexander Ekman, Jean- Christophe Maillot, Patrick de Banana, Thierry Malandain, and other creators. Andrey Kaydanovskiy has also gained recognition as a choreographer. He has conceived modern ballets for the Wiener Staatsballett (2013 – Zeitverschwendung / Wasting Time, Das hässliche Entlein / The Ugly Duckling, 2017 – Der Feuervogel / The Firebird), the Stanislavski Theatre in Moscow (2016 – Tea or Coffee), the Bundesjugendballett in Hamburg (2017 – Reversal) and the Bayerisches Staatsballett (2017 – Discovery). In 2015, he received the Best Dancer and Choreographer prize at the TANZOLYMP International Dance Festival in Berlin; in 2016, he was awarded Germany’s FUTURE prize. In 2017, he was nominated for the prestigious Russian Golden Mask for his choreography Tea or Coffee.
Choreography: Katarzyna Kozielska, Ondřej Vinklát, Andrej Kajdanovskij
World premiere: June 14, 2018
2nd premiere: June 15, 2018
New Scene of The National Theatre