Founded in 2006, Royal Bones, the Danish circus company has highly skilled members who are equally trained in circus, dance, theatre and music. The play is directed by Lars Rudolfsson, who is possibly the most influential figure in Swedish music theatre, and has worked both with the ABBA and the Royal Swedish Opera. In this work with Royal Bones, whole artists can prove their talents in every second of the play, he evokes Shakespeare’s world with phenomenal artistes and musicians drawn from strange fairy tales and king dramas. Goblins, kings, traitors and magicians, mad lovers and spleeny princes fill Rudolfsson’s stage in the production that is a truly magnificent spectacle but difficult to define through its genre.

Founded in 2006, Royal Bones, the Danish circus company has highly skilled members who are equally trained in circus, dance, theatre and music. The play is directed by Lars Rudolfsson, who is possibly the most influential figure in Swedish music theatre, and has worked both with the ABBA and the Royal Swedish Opera. In this work with Royal Bones, whole artists can prove their talents in every second of the play, he evokes Shakespeare’s world with phenomenal artistes and musicians drawn from strange fairy tales and king dramas. Goblins, kings, traitors and magicians, mad lovers and spleeny princes fill Rudolfsson’s stage in the production that is a truly magnificent spectacle but difficult to define through its genre.

Founded in 2006, Royal Bones, the Danish circus company has highly skilled members who are equally trained in circus, dance, theatre and music. The play is directed by Lars Rudolfsson, who is possibly the most influential figure in Swedish music theatre, and has worked both with the ABBA and the Royal Swedish Opera. In this work with Royal Bones, whole artists can prove their talents in every second of the play, he evokes Shakespeare’s world with phenomenal artistes and musicians drawn from strange fairy tales and king dramas. Goblins, kings, traitors and magicians, mad lovers and spleeny princes fill Rudolfsson’s stage in the production that is a truly magnificent spectacle but difficult to define through its genre.

Darling, what a Slut You are [theatre] A mystery play of love portrayed with relentless sensuality, a series of sexual acts transformed into text with the suggestion of human stories in the background, stories that emerge from and arrive at sexual acts, poems arising from the body and dressed in dance. Very briefly this is what the audience can expect from the new production at the Bárka Theatre. Krisztián Gergye, who will officially work within the company from September, one of the most creative artists of contemporary dance, on this occasion is a director. He compiled the text of the piece from the latest volume of poetry by Ágens [Kúrós versek], but the two parts of the performance also differ from each other in their relationship to the text: while the first act is based on dialogues drawn from the text, that is, on verbality, in the second act the emphasis gradually shifts to the body and physical presence.

Is there such a thing as European identity? Does the old continent have a past as well as its age? Does this past bind or separate? Can we understand each other if we speak thirty-five different languages? The two-man “show” staged by Teatro Praga, one of Portugal’s most exciting experimental theatres, looks at these questions and rather than answering them, confronts the audience with more questions. To pin down Europeanness they chose the biggest kitsch parade of the common cause, the Eurovision Song Contest, where the representatives of peoples with different cultures, languages, ways of life and standards of living join in a parade of uniform tastelessness. The two talented young actor-directors, Pedro Penim and Martim Pedroso have created a spectacular and ironic performance that, in keeping with its subject, is multilingual and uses many elements drawn from other branches of the arts.

Darling, what a Slut You are [theatre] A mystery play of love portrayed with relentless sensuality, a series of sexual acts transformed into text with the suggestion of human stories in the background, stories that emerge from and arrive at sexual acts, poems arising from the body and dressed in dance. Very briefly this is what the audience can expect from the new production at the Bárka Theatre. Krisztián Gergye, who will officially work within the company from September, one of the most creative artists of contemporary dance, on this occasion is a director. He compiled the text of the piece from the latest volume of poetry by Ágens [Kúrós versek], but the two parts of the performance also differ from each other in their relationship to the text: while the first act is based on dialogues drawn from the text, that is, on verbality, in the second act the emphasis gradually shifts to the body and physical presence.