The origin of Teatr Novogo Fronta lies in St. Petersburg, Russia, where this theatre company was established in 1993. Their early work resulted from experiments in the field of the relationship between the actor's body - the only material being used by the actor - and the space of the event. The first performance "Vremja Durak" (The Time The Stupid, '94) was presented on their first European tour and its theme was the fear of what the future in Russia might hold. After the tour, Teatr Novogo Fronta settled in Prague, Czech Republic.

Teatr Novogo Fronta's creativity and stage presentation is impressive both in its scale and variety, ranging from street theatre and improvized sets to exacting and directed plays on classical theatre stages. Theatre critics describe their work as "bitter dance grotesque," "divided dance," or compared their movement act to butoh. Since its inception, Teatr Novogo Fronta has performed dozens of performances all over the world.

Performances of the Teatr Novogo Fronta are constructed from images which stand on the frontier between mysticism and abstraction, circus art and modern dance, where the main force is the action, improvization and tension amplified by the ridiculousness of human tragedy.

At present the group is touring with the new open-air performance Causa fatalis and children street show Jungle Joke.

Newest collaborations counts Israeli, Indian, German artists and more.

2010 2nd most favorite show among audience, International Fadjr Theatre festival, Tehran


The PEARL OF NEIGHBOURS Prize for the street performance Phantomysteria on 2nd Central European Theatre Festival – THE NEIGHBOURS, Lublin, Poland


The first prize on 11th International Festivale of Alternative and New Theatre - INFANT 2005 for the performance Phantomysteria, Novi Sad, Serbia


Fringe First - Edinburgh Fringe Festival, UK. Award for the performance Dias de Las Noches


The 2003 Platinum Globe for the performance of Primary Symptoms of A Loss of Name at the Hight Festival in Yerevan, Armenia


The Grand Prix at the international festival PULA-PUF in Pula, Croatia for the performance "Vagabond Adam Kadmon"


The Grand Audience Prix, Krzysztof Mieszkovsky´s Prix and The Critics Prix at the international festival ZDERZENIE for the performance "Primary Symptoms of Name Loss" in Klodzko, Poland.


Grand Prix of public for the performance " Primary Symptoms of Name Loss" at the international theatre festival Arena in Germany.

Special achievement award from the Theatre Academia DAMU (CZ) to Ales Janak for his work as artistic director of Teatr Novogo Fronta

"The creative imagination of the collaborators constructs surprising, dynamic, funny and cruel stage scenes, with a mind-blowing use of simple, everyday objects…tons of originality."
Yediot Acharonot Newspaper, Israel

This was a real, huge, crazy circus! Circus of ideas and a parade of skills of all kinds. Circus of energy that grows with each new image, but most of all it was a circus of new artistic expression in theatre which also changes itself in order to perceive this play. All in all this was a ritual theatrical holliday. Holliday which exhibited new acting techniques based upon ancient disciplines of the Peking opera or derivatives from the Russian Avantguarde. A holliday of authentic technique of the Teatr Novoga Fronta and first of all the creators of all of their plays – tall and slim Alesh Janak and miniature but playful and tiredless Irina Andreeva. (Doppelgänger)
Goran Cvetkovic, Radio Beograd 2 

But what gives Phantomysteria its curiously affecting and poetic intensity is the way it uses clowning. Russian - inflected
clowning that is, where knockabout is an echo of how life is - a grim, violent routine of survival.
Mary Brennan, The Herald

And uncomfortable and exhausting performance to witness, and yet it will haunt you. (Phantomysteria)
Katherine Adam, The List

But in the darkened, flame -lit Old Quad, it´s an intense spectacle that is difficult to forget.
The message is uncompromising as the execution. As pictures from war zones and famines are projected on to a backdrop of passages from the Bible, there´s no escaping the sense that this is hell, and we are all in it. (Phantomysteria)
Tina Jackson, Metro

If Hieronymus Bosch had known burlesque, this is what he would have painted.
… an astonishing piece of physical theatre ...(Dias de Las Noches)
Lyn Gardner, The Guardian

Exquisitely performed and hauntingly beautiful, the poetry of Dias de Las Noches lingers long in the mind. … gorgeous piece of physical theatre …
Louise Rimmer, The Scotsman

... exquisite, artistically and technically flawless productions that will be remembered fondly long after they leave the
town.... ... mixture of dance, narrative and abstraction, a feast of circus skills, burlesque, cabaret and one of the best
applications of butoh I have seen in years. It is carnivalesque, histrionic and nightmarish in its makeup, attacking one's
senses with true relish. It ... Will charm you, tease you, toy with you, make you eat from the palms of their hands.... (Dias de Las Noches)
Ksenija Horvat,

"Irina Andreeva was a supernatural sight in Dybbuk...explosive...a spirit taking glleful possession of another body."
Nelson Pressley, The Washington Post

"Andreeva is a master of restraint, and in her clear, calculated movements she builds a tension that never lets up. Sometimes she seems to battle electronic mysterious forces, at other times she´s the force itself. In Andreeva´s case, the dybbuk within is making powerful art." (Dybbuk)
Howard Shapiro, The Philadelphia Inquirer

There were so many astonishing elements in this play Dybbuk… An elfin, but tautly controlled powerhouse of a woman,
Andreeva dedicated this work to "the feminine principle of the universe. ." …a serious and beautifully danced flamenco ends in a riveting ronde de jambe that transmogrifies into a grotesque tap dance…
Merilyn Jackson,


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