Barbora Látalová is a graduate of Duncan Centre in Prague. She completed a scholarship at the Hunter College, one of the constituent colleges of the City University of New York. She studied modern dance and dance therapy at the NYU with Miriam Roskin Berger, taught dance at the French lyceum in Prague and movement at the acting faculty of the HINT University in Norway.
She created her own projects in cooperation with various artists and coaches (D. Boivin, B. Massin, G. Witmann, T. Verges). Her solo project Margaretha narrates was created in 2012 in Alfred ve dvoře theatre. Since 2012 she has been working as the artistic advisor of Dance for children as part of the dramaturgy for the festival Tanec Praha.
She is the co-author of the dance performance Fg = G [(m₁m₂)/r²] / Dance and Physics, a project that includes interactive workshops for children in schools, as well as the awarded project Animal Carnival (2013), an interactive dance performance for children (5–12 years) based on the musical motif of the same name by French composer Camille Saint-Saëns. Her last international project DIFFERENT? was supported by the EU fund Creative Europe.
Barbora is the leader of the children’s program at Ponec and is the main founder of the artistic group OSTRUŽINA. This platform she founded in 2016 with the goal of long-term activities in the field of dance and theatre with a specialization on children and young audiences.
She is the initiator of the project Tančit o Žižkov (Dance for Zizkov), which was selected as a social project for support by T-mobile in the school year 2016/17.
Since 2002 Barbora is a member of the international theatercompany NIE (NO/UK). She is also a member of the board of ASSITEJ Czech Republic.
In 2019, in collaboration with illustrator Tereza Říčanová she created Goats Horsing Around, a piece for children inspired by Tereza's actual cow Malina and Bára's desire to be in one of Tereza's books.
Barbora has been teaching dance at elementary schools in Prague for more than 10 years.
„Few people can avoid a certain form of autobiography during the author's performance. Margaretha - Bára uses this fact without any problems in the way that if it were not so, something would be missing a lot. Perhaps a trilingual conversation (or rather a monologue) with the audience also helps, in which, however, the French and English words also disappear with the layers of clothing and only the naturalness of Czech remains. And because the author has a sense of irony and can use it properly, stratification is also evident in the meanings of the individual words and sentences that Margaretha speaks, and her dance is equally stratified. It is not a whirlwind of movement, but rather a presentation of dance maturity, which uses costume and video through their formal elements to the full content.“
Zuzana Smugalová, Taneční aktuality