Forsythe excels, for example, in permanent work with arms, which are usually quickly and vigorously cut into space. In his program A Quiet Evening of Dance, which culminated this autumn at the Karlín Music Theater with the autumn part of the Prague Dance Festival, this typical feature was emphasized by colorful, long gloves.

The first part consists of four isolated duets and solos. The soundstage is created only by the audible breaths and exhales of the dancers, the barely perceptible singing of birds or the short-sounding silent composition of the modernist Morton Feldman.

The spectator must follow exclusively to the movement flow of excellent dance, which without a crutch of strong music in the background can be maintaining attention. But there is something to look at. The movement flows naturally, and yet at times still in all directions, the dancers’ limbs attack the space violently, so that they soon hide in unexpected rotations.

Some performances start unexpectedly without preparation and disappear as well, other times a movement scheme rhythmically developed by the dancers’ breath gradually develops.

After the quiet first half, the Seventeen / Twenty One choreography comes next. Here is the music of Jean-Philipp Rameau from the 18th century and the stage is flooded with a series of mostly exhilarating performances, mixing various dance inspirations.

Typical virtuoso ballet elements are popularly quoted mainly by the tiny dancer Roderick George, while the shapely Rauf Yasit, nicknamed RubberLegz, is amazed by hip-hop tricks, which he entangles his legs in Gordian knots, so he unraveled them with the same thing.

It was his performances that garnered the greatest response from Prague. However, the degree of invention varied in individual outputs, apparently also under the influence of different authors’ contributions.

Despite a certain silence, as announced by the title of the production, it was an evening full of energy, boundless and often only lavishly sketched movement ideas. However, he clearly impressed the audience and at the end of the performance he lifted some spectators from their seats.

The Czechs have been encountering Forsythe’s work for 21 years since the Frankfurt Ballet was a guest with Dance of Prague with three of his works. The year before, Brno again performed the Hungarian National Ballet with Forsythe’s production of The Vertiginous Thrill of Exactitude.

Local dancers also have experience with the choreographer’s original dance vocabulary: in 2012, the Prague National Theater staged his In The Middle Somewhat Elevated and is preparing the same ensemble for October this year. The second detail.