Another JAN

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ProART Company (CZ) - Tanzkompanie bo komplex (D)

Concept and choreography: Martin Dvořák

Music: František Chaloupka (Mašín Gun / The Seven Rituals for purging the Czech Lands from Spirit of Communism, The Book of Sand), Philip Glass (Etude No. 5)

Music "Volume 2": Nils Frahm

Choreographic collaboration: Olaf Reinecke

Choreographic Assistant: Baerbel Stenzenberger

Light design: Martin Dvořák

Dance: Olaf Reinecke, Martin Dvořák

Inspired by piece JAN choreographed by Israeli choreographer Nir Ben Gal for the ProART Company, Martin Dvořák, choreographer, together with Olaf Reinecke, a German dancer, has developed another performance piece on the theme of victims of repression – this time in a different light. In addition to Jan Palach, the Czechoslovak student who burnt himself to death in Prague as a protest against the suppression of political changes during the Prague Spring of '68, revolt and rebellion against repression as a source of inspiration also took place in another form in Czechoslovakia.

At the beginning of the 1950s, two brothers – Josef and Ctirad Mašín – started their own cold war against the communist regime which resulted in a spectacular escape abroad in 1953. Despite the thousands of German and Soviet soldiers that pursued them, they were not caught and both brothers escaped to West Berlin. Many innocent people however became their victims along the way and the means of their rebellion was marked as extreme and morbid. The entire escape is perceived by many historians as the German police force's biggest failure in history.

Today Czech society still remains uncertain whether the Mašín brothers and their supporters should receive State honours for their courage and struggle against repression, or whether they should be morally condemned as cold-blooded murderers.

In his performance Martin Dvořák poses the question – What form of rebellion against repression has the strongest effect – spiritual self-destruction or violent revolt against often innocent victims of the system? Are these two ways comparable and meaningful?

Financial support: Statutory City of Brno, Capital Prague, Czech-German Future Fund, Czech Centre in Germany, City Bonn, Mittleres Zentrum Bonn


VIDEO (Bonn) / VIDEO (Praha)

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22. 4. Dresden - Radebeul, Landesbuehnen Sachsen / Gala zu Tanzwoche Dresden - Another Jan - solo


6. 10. BREST, France - Festival La Besquee / Another Jan


25. 7. BRNO - DnO: Another Jan / Volume 2 (20:00)

26. 7. PRAHA - Ponec: Another Jan / Volume 2 (20:00)


BONN 29. 11. (21:00h) + 30. 11. (12:00h) Brotfabrik ---


PRAHA 19. 12. (20:00) Ponec - theatre for dance ---

Reservations: or

Tickets:, Ticketportal and

BRNO 20. 12. Divadlo na Orlí ---

Reservations and tickets:

Programm Brno + Praha 19. + 20. 12.: Stín / Another Jan / Emoticon

ProART Company (CZ) - Tanzkompanie bo komplex (D) + special guests (Alex Volný a Lukáš Lepold)


Choreography and dance: Alex Volný and Lukáš Lepold

Music: Nine Inch Nails, Jan Balcar

Light design: Jan Mlčoch

To meet its own self means, at the first, to meet its own shadow. But surely, shadow is a ravine, a narrow gate which is as tight as it is harrowing, no one who descends to the deep well will be saved. Shadow is a living part of personality which is why it wants to live with it, connected, in any form. It’s impossible to deny it or transform it with reasoning into a harmless thing.

Non-accepted qualities for our consciousness are kept in the shadow. Although even these, over time, are claiming conscious life and became a source of anxiety. The shadow represents our second self, our alter-ego.

Nevertheless this second self does not have to be the bad and evil one. Shadow is... the clouded, suppressed, mostly inferior and guilty personality, which is touching, with its most distanced spits, the empire of animal ancestors and so includes whole historical aspect of unconsciousness. C. G. Jung (unofficial translation)

Piece was created with financial support of 420People. The space was kindly provided by Dance Conservatory Brno and Cirk La Putyka.


Choreography: Martin Dvořák

Music: Erik Satie a Piano Interrupted

Costumes: Jindra Rychlá

Dance: Irene Bauer, Martin Dvořák

The concept of the choreography is carried in the atmosphere of a clash between the new and the old, the current and the past. The music composition forms a collision between the modern piano music of the 20th century with the current one in the same manner as a villa building radically changed the perception and aesthetics of architecture during its time. The acoustic piano piece collides with the electronic compositions of 21st century breaking into a new form, closer to the listener of today's young generation. Both interpreters - Irene Bauer and Martin Dvořák – seek here the dialogue between the solid structure of Satie's score and sound freedom of Hodge and Kirmann. Another aspect forms a gradually raising generation exchange which however is not perceived as a need or a must to "go with the flow' by either of the dancers. Both representatives of the classic dance education seek new expression means to bring value to their long-standing interpretation knowing that both have reached their "peak" long ago and now comes the time of leaving and looking back on their professional life. The dialog of acoustic instruments – pianos and strings – with electronics stands here as a starting point for stage performance which does not carry the need for narration or any other way of sharing, but emotional fulfilling of the musical and motional expression.

More about piece HERE