140:, which premiered in 1977, is the most frequently performed theatre piece in Central Europe, and has remained in the repertoire ever since. Laterna magika now is one of the ensembles of the National Theatre, based at the New Stage of the National Theatre in Prague. Laterna magika productions blend various genres, ranging from dramatic acting through affording a dominant role to dance and ballet to mime and Black Theatre. All of their productions have been original works directly created for the company, not ready-made pieces, which, with a few exceptions, have never subsequently appeared in the repertoire of another company. The fundamental principle (interaction between film projection and live dramatic action) has been gradually supplemented with new technologies, for instance, digital projection or new media, including real-time programmable software.
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497:”, with its management, production workers and company members mediating contact with the citizens of the entire country. Twenty-four hours a day, they registered newly established Civic Forum offices throughout Czechoslovakia, made telephone calls, attended to correspondence. Every day, the auditorium hosted press conferences attended by journalists from all over the world and the theatre was the place at which leaflets and other printed materials were produced and distributed from. Students from outside even slept at Adria.
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In the 1960s, Laterna magika focused on both domestic and foreign audiences, increasingly centred on tour programmes, in the case of which the composite nature of the first performances was an advantage. According to archival materials and personal testimony, parts of the premiere and subsequent tour programmes were changed, supplemented, re-arranged, or the productions were given different titles. The second
Laterna magika performance was aptly called
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256:, Syria, Egypt, the USA, England, France, the Netherlands, Belgium, Austria, Spain and Israel, while representatives of other countries were interested in possible granting of a licence. Laterna magika duly became a globally renowned trademark and following its return to it launched its official activity, on 9 May 1959, as an independent company of the National Theatre, performing at the Adria palace (on the corner of
484:. During the preparations, which lasted nearly three years, the production was deemed the most challenging task Laterna magika had ever undertaken. It even had two versions, with one being performed at the Palace of Culture (today’s Congress Centre) and the other intended for the newly built New Stage of the National Theatre, opened in 1983, which has been used by Laterna magika since 1984 up to the present day.
237:. The programme took the form of a mixed bill made up of individual numbers connected by a presenter's performances, which were pre-recorded in several languages and screened in a manner that came across as a seeming interaction of the actress on stage with her images and between each of these. The same principle was applied in the design of the other numbers, which made use of music, dance and live acting.
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In 2010, Laterna magika was reintegrated in the
National Theatre. From 1 January 2010 to 31 December 2011, it operated as the National Theatre’s fourth company, headed by its artistic director, Zdeněk Prokeš, and on 1 January it became a section of the New Stage of the National Theatre. The spring of
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Laterna magika’s dramaturgy approximated the form of repertory theatre, blending entertaining and serious themes, and self-invented experimental and traditional techniques. Elements of “multimedia” theatre not only contained a combination of media and genres, they also aimed to enhance the original
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For a long time, the form of the first representative programme served as a model for the creation of new multimedia performances. Laterna magika was part of the
National Theatre as an independent "experimental" company with its own artistic management. Its first artistic director was Alfréd Radok.
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in the lead role, which was the first performance to use synchronous screening by means of television cameras. With the play, Laterna magika strove to assert that it was also a stage for Czech audiences, since at the time it was branded a theatre solely focused on tourists. In 1983, it premiered
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During the period when
Laterna magika operated at the Adria Palace, for three weeks after 21 November 1989 its residence was the most closely observed place in Czechoslovakia. At the time, all of its premises were used by the Civic Forum, a new political movement founded at the Činoherní klub
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has received the
Honourable Mention for Video mapping and projections from the biennial national competition of contemporary dance art Ballet 2019. The same team built a new group of collaborators around a new topic, won a competition for celebrating 60 years of Laterna magika and created a
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With a short delay, the revolution resulted in a great change to the statute of
Laterna magika: in 1992 it became an independent organisation partly financed from the public purse. It continued to pursue the set programming and artistic line. The 1990 performance for three dancers
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312:. Amidst the more relaxed political atmosphere in 1966, the work was re-included in the repertoire, and Radok reassumed the post of the company's head. The only exception in the programme dating from this era was the feature-length drama production of
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The whole intention was centred on a circus theme, with a panoramic moving screen bearing the cinematic image and also representing a circus big-top. This set design serves to render the entire story and principle of
Laterna
326:'s musical work of secondary motifs and concentrated the action on Hoffmann and his three loves, with the production merely featuring three lead characters, and the ballet and opera ensembles. The critics, however, panned
358:(1974), directed by Václav Kašlík and based on old legends. It was performed to acclaim for about a month, yet failed to pass the final approval process. A new version of the production was undertaken by the director
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was created by the members of the company themselves: Pavel Knolle as director, David Stránský and Štěpán Pechar as choreographers. After winning the 1st prize at the 2019 BABEL Fast
International Theatre Festival,
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in the choreography of Jan Kodet and under direction of SKUTR (Martin Kukučka and Lukáš Trpišovský), joint project of
Laterna magika and Czech National Ballet dancers who worked together for the first time ever.
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assumed the post of artistic director, in which he would serve for a long time to come. The company began seeking a novel artistic expression in the form of feature-length productions, whose prototype was
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In 2017 Laterna magika presented a new project in the scope of "LaternaLAB", where emerging artist can present their view of
Laterna magika and its artistic future. The project
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methods and novel staging approaches. Ever greater scope was afforded to the dance company, whose quality was increasing, most markedly from the premiere of
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ushered in Laterna magika's phase as a multi-theme theatre. At the celebration marking two decades of the production's staging, Josef Svoboda said: “
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In the wake of the revolution, Laterna magika also launched collaboration with foreign stages, with the first instance being the 1992 co-production
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in Montreal, the company presented a shorter programme performed up to twelve times a day which later on was staged in Prague under the title
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Under the heading of the New Stage, in the 2012/13 season Laterna magika premiered two titles. The first of them, a short family show
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Laterna magika ever increasingly embraced the modern and contemporary dance style, with the tendency culminating in the mixed bill
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premiered in 1977, which has remained in the repertoire ever since and is the most frequently performed theatre piece in
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Laterna magika initially came into being as a representative cultural programme devised with the aim to promote the at
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enriched the repertory of performances for the whole family. In the 2015/2016 season, Laterna magika premiered
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and other companies, as well as a renowned choreographer. For their performance in Petr Zuska’s choreography
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Bruselský sen. Československá účast na světové výstavě EXPO 58 v Bruselu a životní styl 1. poloviny 60. let
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A turning point in the dramaturgy of Laterna magika came in 1973, when the architect and set designer
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The programme, consisting of a variety of numbers, was above all the joint work of Alfréd Radok and
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In the 2013/14 season, Laterna magika premiered the critically acclaimed multimedia project
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At the time, Laterna magika also strove to address children, first with the play
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was digitised; to date the production has been performed more than 6,200 times.
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was real-time tracking, detecting people and objects in pre-determined zones.
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received the Best Solo Dance Duo award for 2002 from the Dance Association of
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One of the repertoire highlights at the end of the 1980s and early 1990s was
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The New Stage of the National Theatre in Prague - residency of Laterna magika
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cultural cadres' notion of socialist realist art: the Minister of Culture,
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The production’s creators included the founder of Czech Black Theatre,
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and was premiered on 5 December 1960 within a guest appearance in
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in Athens. The following year, the co-production with ’s
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383:
379:
377:
372:
367:
365:
361:
357:
352:
351:Josef Svoboda
342:
341:
337:
333:
329:
325:
322:, who purged
321:
320:Václav Kašlík
317:
316:
311:
307:
303:
299:
295:
291:
287:
277:
268:
266:
265:Josef Svoboda
261:
259:
255:
251:
247:
243:
238:
236:
232:
228:
227:Miroslav Kůra
224:
220:
216:
212:
208:
204:
200:
196:
192:
188:
184:
180:
176:
175:Josef Svoboda
172:
168:
164:
155:
141:
139:
135:
131:
130:Brussels Expo
127:
123:
119:
111:
107:
102:
98:
94:
89:
71:14°24′51.73″E
61:
59:
55:
50:
45:
41:
37:
33:
28:
23:
1186:
1167:
1161:
1138:
1133:
1122:
1016:Rendez-vous
936:Vivisection
851:30 May 1974
827:27 May 1966
819:9 June 1963
787:26 May 1958
760:
755:Bon Appétit!
754:
750:
749:performance
745:
740:
738:
733:
729:
705:
703:
687:Braňo Mazúch
683:Václav Havel
678:
670:
668:
664:“Variations”
663:
659:
655:
652:Cocktail 008
651:
647:
643:
640:
630:
626:
623:Cocktail 008
622:
618:
602:
600:
595:
587:
580:Pavel Knolle
575:
556:Václav Kuneš
547:
545:
541:
533:
517:
515:
502:
499:
491:
473:
471:
462:
459:
450:
441:
438:Antonín Máša
429:
427:
422:
419:Emil Sirotek
399:Zdenek Seydl
389:
385:
384:. Moreover,
374:
370:
368:
363:
360:Evald Schorm
355:
348:
339:
327:
313:
301:
285:
282:
262:
241:
239:
223:Eva Poslušná
191:Jiří Němeček
179:Miloš Forman
171:Alfréd Radok
160:
117:
116:
68:50°4′52.16″N
1096:The Garden
880:Snow Queen
816:Variations
795:9 May 1959
637:The present
619:Rendez-vous
511:Jiří Honzík
488:1989 – 2009
478:Ondrej Šoth
195:Erna Veselá
83: /
58:Coordinates
1218:Categories
1114:References
1056:Anticodes
1008:Argonauts
751:The Garden
726:Petr Kaláb
691:Dan Gregor
627:Code 58.08
552:Petr Zuska
434:Pavel Šmok
430:Snow Queen
401:, Eva and
395:Jiří Srnec
332:vaudeville
1000:Graffiti
992:The Trap
976:Casanova
952:Minotaur
944:Odysseus
779:Premiere
679:Anticodes
611:Jan Kodet
603:Argonauts
564:420PEOPLE
455:Jan Kačer
345:1973–1989
294:Communist
290:Leningrad
271:1959–1973
187:Ján Roháč
46:Národní 4
984:Puzzles
832:Expo 67
792:Expo 58
784:Expo 58
596:The Trap
588:Graffiti
548:Graffiti
542:Puzzles.
534:Casanova
522:Anacapri
503:Minotaur
474:Odysseus
391:magika.”
366:(1975).
167:Brussels
49:Prague 1
1239:Expo 58
453:, with
336:Expo 67
258:Národní
250:Expo 58
163:Expo 58
144:History
104:Website
43:Address
1174:
1149:
1143:Prague
776:Title
566:, and
96:Opened
1088:Cube
526:Italy
122:Czech
1172:ISBN
1147:ISBN
746:Cube
741:CUBE
716:and
254:USSR
205:and
185:and
99:1958
440:’s
304:to
1220::
1141:.
666:.
598:.
524:,
469:.
229:,
225:,
221:,
217:,
213:,
201:,
124::
1194:.
1180:.
1155:.
378:,
120:(
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