Media coverage/Napsali o nás/Critics

INTERVIEW
Lucie Kocourková, Alica Minar, Opera Plus
10. 02. 2024

"At the moment I tend to think about topics in a more positive way. I feel an inner need to direct my attention to the softer, friendlier and warmer aspects of life, which awaken a sense of openness and acceptance in me. The contrast I created in the past by focusing on serious topics and bringing humor to them is now reversed. My focus is leaning more toward topics that create a sense of belonging or connection, but within them something serious is being addressed. ... Even after the production is done, one has to communicate to oneself and to the team what it is they have actually created and how to replicate it again. With solo work, I don't talk to myself, but I still have to communicate with the people that make up the team around me, so dialogue is still central. I can't actually create on my own, I need someone to be there to at least either watch or talk to me."

Read more
Read full review
INTERVIEW
Sara Castro, Alica Minar, Performing Arts Festival Blog
01. 06. 2023

"Objects have a rich world to offer. I feel that even if I have a certain necessity for my body to move, the objects have a legacy that makes them easier to enter. The objects and the body are like partners for me, there's not one more important than the other, they coexist together and through their meeting, we can express certain things, which are maybe spiritual, physical or emotional. … This strangeness and this weirdness are part of the extravagance and aesthetic that I'm working with and that I try to offer. This bizarreness of certain situations in life creates humor. I think that if you have a difficult topic, it's easier and more accessible to enter it playfully and weirdly. It gives you more freedom."

Read more
Read full review
INTERVIEW
Hana Polanská, Petr Soukup a Alica Minar, Podhoubí
24. 10. 2023

"I never wanted to limit myself to what I see in my immediate surroundings. I always wanted to get out there. I wanted to see art with my own eyes, to be present to what was happening on the international scene. Which is also what drove me towards post-dance-motivated ideas even before getting into the Post Dance book (Moderna Dansteatern, Stockholm). All put together, it has become a long-lasting passion that strongly influences the way I create. ... I guess I'm always looking for the source, the reason why I move or why someone should watch me move. When someone comes to my workshop to experience something with me, it's different. Necessity, in my opinion, is the quality with which a choreographer defines why anyone should care about what is happening on stage. It's about creating a relationship between the observer (witness) and the mover (mover). When I perform, it's not purely about my experience of the dance, but about the relationship between the stage and the audience."

Read more
Read full review
REVIEW
Kateřina Šilhová, Dance News
25. 06. 2023
WOODS WON’T VAPORIZE

"The dancers act as a tight-knit team, in sync with the choreographer and her vision, as well as other elements of the production such as music, set design and costumes. ... Having the opportunity to experience WOODS WON'T VAPORIZE in two different settings, I get the sense that Alica Minar's choreography is consciously loose in its construction, which changes according to the place where it is danced. While tree roots are very stable bases, where they grow is a combination of chance and necessity that only untamed nature understands. Alica Minar's production has similar qualities." WOODS WON’T VAPORIZE 25.06.2023 REVIEW

Read more
Read full review
REVIEW
Lucie Kocourková, Opera Plus
24. 06. 2023
WOODS WON’T VAPORIZE

"Humanoid movements are broken by animal instincts and reactions. Their actions on the ground initially suggest the generation of energy from the soil, from the roots, which in turn has a double meaning, one concrete, since trees have roots, the other abstract, since we also use the word roots in a figurative sense, for phenomena and relationships that nourish us mentally, not with sap. Such imaginary sap circulates through the group of dancers." "I appreciate Vi Huyen Tran's musical landscape and Raquel Rosildete's evocative lighting design, which creates various atmospheric changes, a misty landscape, a desert or an aurora borealis."

Read more
Read full review
REVIEW
Clara Zanga, Dance News
19. 03. 2021
EXPLOSION

"Explosion is mainly a feast for the eyes, with all sorts of scenic paraphernalia that the four dancers move around like boxes, creating a space that looks like a futuristic doll's room and at the same time a carefully assembled collage and a work of art in itself. The performance is characterised by an optimistic pastel colour palette. ... The movement of the four dancers is vibrant, rhythmic and includes many jumps. With the help of props, the performers create situational humour; for example, they take turns jumping on fatboys, each time catapulting the other off. At times their movement again makes it seem as if the foursome is in trench warfare, fleeing from an unseen danger. Explosion has no narrative ambition, but it never ceases to fascinate aesthetically."

Read more
Read full review
REVIEW
Lucie Kocourková, Opera Plus
19. 09. 2021
PERMEANCE

"In the shade of a willow tree, however, the girls then enacted a scene in which they transformed themselves, with the help of a slight costume change, into a kind of amphibian society. The purifying function of water was evoked in a scene where an acrobat spun on a rope as if in a maelstrom, which carries away all evil. Now the part where the audience was "forced" to interact was over and they found safety in the quiet role of the spectator. Their space was no longer disturbed, only the public space... The whole event, however, maintained its tension and gradation. What seemed at first like randomness and a "let's see what it does to people" fantasy gradually turned out to be a prepared and controlled process, and the spectators were actually guided, though not transformed. The sound of water and the green gooeyness eventually stuck to the audience's souls thoroughly."

Read more
Read full review
REVIEW
Zuzana Smugalová, Dance News
27. 09. 2021
PERMEANCE

"Somewhat humorous and mysterious riddles together with ambient music by Etienne Haan, played from small speakers placed in various locations as well as from the spectators' mobile phones, gradually transported all audience members into a performative collision in which animated suits of amphibious creatures pointed out who, between water and earth, is the master of this world. And although one can rightly doubt the long-term sustainability of these kinds of formats, nothing can be argued against the usefulness and creative originality of this production."

Read more
Read full review
INTERVIEW OF CRITICS
Hana Polanská Turečková, Barbora Etlíková, Podhoubí
11. 06. 2022
DEVOURER

"For me, it was a very strong critique of how far we are willing to go, and also how we are consumed by "having" instead of "being". The parallel with the black hole was perfect, and terrifying, because after a certain point there is no return. Being absorbed or overwhelmed is also a strong psychoanalytic theme relating to human relationships. But the performance was playful, not moralistic or heavy-handed." "We still tend to apply the easily exploitable demand for originality and novelty that contemporary dance tries to fulfill through an original movement vocabulary. Post-dance doesn't have that in its program at all. Last night's performance managed to show all the ideas bubbling up within post-dance very well."

Read more
Read full review
REVIEW
Lucie Kocourková, Opera Plus
29. 05. 2022
DEVOURER

"Her insistent Devourer is unencumbered by complex issues and allows herself to play, a refreshing experience among the existentially weighty projects of our time." "She devours ball after ball with the very realistic sounds of a feasting beast, moving through space with dance-like grace and flexibility. Even a covered face can have an expression, or rather the whole body carries it at that moment. And the body of the devourer enjoys its collector's passion. It is a seemingly simple-minded game, but thoughtfully developed and punctuated. The interaction with the audience seated closest to the open stage emerges quite naturally, a bit like playing with a semi-wild animal."

Read more
Read full review
REVIEW
Marie Kobrlová, Dance News
10. 06. 2022
DEVOURER

"The choreography in this piece succeeds at connecting body, sound, visuals, text and objects and the playful potential between body and object sensitively approaches visual art, also bringing to mind elements of illustration and animation. The gravity-laden, self-absorbed, materialistic figure of the voracious eater and manipulator, Devourer, is nonetheless sympathetic. Emotions are expressed in a manic, exaggerated way, and the symbiosis of movement, sound and visual sensations allows the audience to relax." "In its imaginative improvisations, Devourer admits everything, makes no secret of anything, exaggerates his lust and greed, and transforms his selfish egocentrism into sensitivity, curiosity, and humor. While the audience may laugh with sadness in their hearts, the clown character offers the potential to release from accumulated emotional overload. Therefore, Devourer delivers a powerful aesthetic experience of release and joy."

Read more
Read full review
REVIEW
Iva Heribanová, Mloki
26. 11. 2022
DEVOURER

"As a whole, DEVOURER stands out for its impressive use of temporality. The choreography, sound and light form a solid structure in which surprising yet completely fluid changes of atmosphere occur. There is never a moment of exhaustion with the action on stage leading to boredom. On the contrary, DEVOURER holds the audience’s attention and entertains from start to finish."

Read more
Read full review
REVIEW
Miroslava Košťálová, Reflektor VŠMU
15. 03. 2021
EXPLOSION

It is important to note that the choreographer works with energy very sensitively, slow movements alternate with accelerated ones. There is no visual-dance chaos that would exhaust the viewer. I would liken the dance production to a trip to Wonderland, where we find pleasure in the visual images. Explosion is a good example of how to playfully approach a subject that at first glance assumes mostly negative connotations.

Read more
Read full review