Light in the Darkness

→ PŘESUN Z 6.5.

Radim Vizváry and Miřenka Čechová based on Sade, Dante and Švankmajer

Light in the Darkness

Light in the Darkness

→ PŘESUN Z 6.5.
Palác Akropolis
→ PŘESUN Z 6.5.

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Light in the Darkness

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Slezské divadlo Opava
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About the performance

The main impulse of Light in the Darkness was the thought of creating a challenging compositional whole which would draw from the richness of mime theater in all its varied forms. This is an exceptional, theatrically expressive undertaking of high art depictions of death, love and hell, fronted by precise technical physical expression, utilizing props, puppets, masks, and the highest forms of modern mime and dance. The creators were inspired by Dante’s Inferno, passages from Marquis de Sade, as well as the spiritual influence of Bach’s Art of Fugue.

The poetic nature of the work spans from Surrealism and decadence, aspects of Rococo and Mannerism, all the way to cries reminiscent of the paintings of Salvador Dali, Giorgia De Chiraca, or the films of Jan Švankmajer, Ingmar Bergman, and Peter Greenaway.

This unique creation of two renowned authors, choreographers, directs, and performers, Miřenka Čechová and Radim Vizváry, earned thunderous international success upon its premier in 2013. The artists sold out Atlas Theatre in Washington three times, twice were written about by the Washington Post, and received much praise from their colleagues at the forefront of the American art scene.

  • Authors and Performers: Miřenka Čechová, Radim Vizváry
  • Directorial co-working: Petr Boháč
  • Music: Matouš Hekela
  • Set Desgin and Costumes: Petra Vlachynská, Lucia Škandíková
  • Light design: Martin Špetlík, Jiří Šmirk
  • Production: Jan Honeiser

AWARDS

  • Nomination - Theatre Newspaper Award - dance and movement theatre - Light in the Darkness (2024)

Premiere: 24. 1. 2024 - Palác Akropolis

Video

Media reviews

Miřenka Čechová and Radim Vizváry, with the directorial co-working of Petr Boháč, is return to the stage of Palác Akropolis with Light in the Darkness. Their theater pairing creates enticing pictures and for the audience creates an engulfing atmosphere of a world in which Eros and Thanatos are combined and in which sweet torment cannot be separated from love.
It is certain that this performance is worth watching, if only because of the very sophisticated application of the entire range of performance methods in physical/dance theater. It is a mix of a variety of styles, which can also be seen as a tribute to the individual historical eras in which this type of theatre/dance was born.
There is some king of a grotesque performed in front of the audience, which through nontraditional movement and dance techniques (mime corporel, puppetry, or the Japanese dance butó), it defies preconceptions of dance productions.
It is a feast of emotion and showing of bizarre oddities, revealing the darkness of the human soul, the crossing of worlds, and alternates moments of lovely lighthearted play and deadly serious stubbornness for craft and technical ability.
Prokofiev said that the dead cannot dance, when he voiced doubt over the ending of his ballet Romeo and Juliet. But it seems that he didn’t know what he was talking about.
Washington Post, Sarah Kaufman