• 18. 4. 11.00
  • DF JAMU 202

How to safely and effectively stage fights for the stage and the camera. The aim of this workshop is to introduce participants to the scenic representation of armed and unarmed combat and violence. We are going to work with the so-called convincing angle, dynamics, synchronization, movement aesthetics, and workplace safety for stage combat specialists. The workshop is going to be a practical lesson for scenic combat techniques - response to blows, gunfights and staged violence, weapon manipulation, stage and theatre fencing. Beyond simple martial arts choreographies, we try things that are distinct and mysterious for the viewer or camera.


Petr Nůsek, has worked on the films Bathory, Tristan and Isolde, Hellboy, The Chronicles of Narnia 2, Satisfaction 1720, the TV series The Borgias, the computer game Kingdom Come: Deliverance, as well as plays and musicals like Joan of Arc, Robin Hood, Dracula, The Three Musketeers, The Man in the Iron mask, Cyrano of Bergerac, Romeo and Juliet.


The workshop is very practical and physical also, based on actors excersises and combines various improvisation techniques which at the end lead to an improvised happening.


Péter Forgács studied theatre directing at the University of Theatre and Film Arts in Budapest. After his studies, he worked at 7 different professional theatres in Budapest, Nyíregyháza, Miskolc and Győr. Since 2001, he is teaching at the University of Theatre and Film Arts in Budapest.



This contemporary class is based on my experience in different styles of contemporary, modern, and release techniques as well as floorwork and yoga. The focus is on the body’s alignment and on working economically in movement through emphasis on direction, sequencing, impulse, and fluidity. Part of working economically is the use of central and internal musculature, so reinforcing and learning to access that power is a major objective. The class usually starts with warm-up at ground level: strengthening the centre and upper body for taking weight by travelling across the floor with set material or improvisations. With a strong centre we can move fluidly and economically on all levels. We then move into verticality: alignment, thoroughly working the feet, legs, arms, and spine, learning Release Technique through specific set material. Lastly, we make a transition into movement which travels further through space: changing directions and levels, using impulses, sequencing, and flow, learning set material which builds up to a final phrase that will end the class. Attention is always given to stretching afterwards to prevent injury. After warming up with attention exercises, grounding, and keeping contact with our own body and with others, we’re going to focus on pair work using different techniques, ideas, and theories to create a duet and improve our cooperation.


Martin Dvořák is a dancer, choreographer, director and pedagogue. At the age of ten, he began his eight-year study at the Dance Conservatory in Brno, from which he graduated in 1997. Since 1988 he has been working with the Brno National Theatre on opera and ballet performances. In 1996, he became a part time member of the ND ballet ensemble in Brno. After completing his studies, he had his first professional engagement in Laterna Magika in Prague. In May and June 2012, he studied hatha yoga in India, at Himalaya-Pradesh. In 2013, he completed his master’s degree at the Anton Bruckner Privat Universität in Linz.



Vizváry’s method of physical mime is based on his long-term scientific work. It is a modern perception of physical mime, inspired by the principles of modern pantomime, physical theatre, contemporary dance, new circus, and Butó dance. It is a necessary basis for work with the body in mime theatre. At the same time, it can open the way to other forms of theatre. This workshop acquaints students with Vizváry’s method. It uses mime technique, but also acting methods for solo or teamwork, and is focused on being a unique performer in the spirit of mime.


Radim Vizváry is a famous Czech mime, performer, director, pedagogue, and choreographer. He is one of the most distinguished and internationally acclaimed personalities of contemporary mime theatre in Europe. He is co-founder of the internationally successful theatre ensemble Tantehors (formerly Teatro Pantomissimo), artistic director of the Czech group Mime Prague, and co-director of the Tichá Opera ensemble, which links the opera with pantomime. He has worked closely with Teatr Novogo Fronta and hosted the Spitfire Company. He is the director and dramaturge of the MIME FEST.



  • 21. 4. 14.00
  • DF JAMU 202

The first part of the workshop – “The Beginning of Dance” and “Contemporary Dance” will be lead by Šárka Bočková (also a member of the ensemble 420 People and a lecturer at the Nova Scena of the ND in Prague). The second part – “Basic Principles of Coordination and Balance Techniques in the New Circus, with the Use of Pair Acrobatics” will be led by Jana Smolíková (sports acrobat and lecturer at Cirk La Putyka studio).


The Cirk La Putyka artistic ensemble devotes itself to new circus, striving to blend acrobatics, modern dance, puppet theater, and sports. Every year we participate in festivals around the world and collaborate with different artists and ensembles. We will hear two lecturers from the group. Workshop is led by Šárka Bočková and Jana Smolíková.

Team #ENC18