SE.S.TA Blog

The Blog features theoretical reflections on SE.S.TA Centre for Choreographic Development’s activities and interviews with artists participating in our programs. Their authentic testimony serves as the guide for other interested parties who may be wondering what to expect from a stay with us and how their artistic work might develop.

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Michael Marder: The Coronavirus Is Us

Michael Marder

We live in an interconnected world, where borders are porous, more like living membranes than physical walls. Excerpt from the text by professor of philosophy Michael Marder published in New York Times on March 3rd, 2020.

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Paul B. Preciado: The Losers Conspiracy

Paul B. Preciado

I was not scared of dying. I was scared of dying alone. An excerpt from the text of philosoph, curatot and trans activist Paul B. Preciado author of the book Testo Junky and newly released book Appartement on Uranus.

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Useful References from Jean-Christophe Paré and Anka Sedlačková

Pedagogical seminar took place this spring from 6–8 March 2020. The seminar was intended for all teachers who are interested in further development of their skills, methods and approaches to teaching and learning. Participants were mutually sharing tools for analysis and comparison of divers pedagogical approaches, systems and philosophies. Seminar was led by Anna Sedlačková (SK/CZ) a Jean-Christophe Paré (FR). Both of them are sharing references related to their know-hows on our blog.

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Silvie Kudelová: Detached Gestures

Zuzana Žabková

We asked dancer and choreographer Silvie Kudelová (CZ) to tell us a bit more about her research, current questions, doubts, and working process during her Cluster Residency in the Castle. Here is what she shares with us.

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SE.S.TA TALKS with Mirka Eliášová

Marie Kinsky

Marie Kinsky talks with choreographer Mirka Eliášová (CZ), professor at the Academy of Performing Arts in Prague, about the usage of specific choreographic tools in her teaching and creations, about improvisation as an opening tool for later choreography, about the influence of William Forsythe’s technique, and her research on these principles in relation to contact improvisation.

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