Hradilkova Tereza

(*1983)
Choreographer, dancer, teacher

As far as choreography is concerned, Tereza ranks among dance conceptualists, which was clearly demonstrated in her solo choreography Swish with the Dance Production 2017 Award from the Czech Dance Platform jury. It is inspired by usual gestures, everyday movement routine, in which she finds a strong metaphoric potential.

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Tereza graduated from the Duncan Centre conservatory in 2002 and she received her bachelor’s degree at the Amsterdam School of Arts. In 2006-7, she participated in “The Art of Performer/Interpreter” education program put together by Dejá Donné company. Along with dancer and choreographer Einat Ganze, she produced and performed in three successful duets Karnenin’s Smile (2005), Sheep by the Road (2008), Proměnná/Variable (2009). Tereza Hradilková has performed in many projects – she danced in Fabrice Ramalingom’s Brut (2010), in Kateřina Stupecká’s Sunyata, in Andrea Miltner’s Beneath the Skin (2010) as part of Claude Brumachon’s piece Le Temoin (2003). She has also worked with Fabienne Chyle – she performed in Territorial Imbalance (2007) and Platzregen (2012). She was nominated for the best dancer of 2017 by the Czech Dance Platform. She shot a successful dance movie Beating along with the director Karin Sulc. Tereza also participates in the Tanec školám project as a teacher and leads workshops for amateur and professional dancers.

Her most recent project Don’t stop (2019) has been selected in 2020 among the three Czech representatives who have succeeded in the fierce competition with more than 600 applicants from 35 European countries in the Aerowaves network. She will represent Czech dance scene in the Aerowaves Twenty21.

She also got a special mention on Czech Dance Platform 2019 for the deep movement research which leads her to a very strong presence on stage, where she creates intensive universe of intimacy and fascination.

“In conveying woman’s emotions in the course of her life, Tereza Hradilková employed a popular and basic girl’s game – rope skipping. Thus, she created a great stage metaphor as well as conditions for her physically demanding performance.”

Nina Vangeli, Czech Dance Platform juror

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