Working with the Czech avant-garde theater, producing librettos and as a professor in the Theatre Faculty of the Academy of Performing Arts in Prague, she advanced modern dance and pantomime with her theories of movement.

Jarmila Kröschlová was born on 19 March 1893 in Prague, which at the time, was part of the Austro-Hungarian Empire to Božena (née Marešová) and Alois Kröschel.

[2][3] From a young age, she wanted to be a performer and when she returned from Italy in 1916, she began studying with Helena Vojáčková, who taught movement based on the Mensendieck system at the Émile Jaques-Dalcroze Society in Prague.

[2][5] In 1921, Kröschlová began her career in the dance troupe of Valerie Kratina in Hellerau and worked on a collaborative production with Jeanem Bardem, a poet, called Mluva pohybu (The Motion of Movement).

[8] In 1928, she choreographed Obrazy z velkoměsta (Images from the City) to music by Modest Mussorgsky and the following year, she danced to two pieces by Saša Machov [cs] Marionety (Marionettes) and Čarodějná láska (Love of the Witch).

In 1930, she danced in Loupežník (Robbers) by Machov and the following year performed in the role of Pierot in Nikolai Evreinov's Veselá smrt (Merry Death).

[1][7] The following year, her dance company took the bronze medal at the Académie Internationale de le Danse's exposition in Paris with choreography and the libretto Kröschlová wrote for Podvečer parného dne (The Evening of a Steamy Day) by Václav Smetáček.

[4][7] In 1936, she played the title role of Kolumba in a feature-length dance drama, using her ideas on the theater of motion, to music written by E. Hohag and a libretto by Miloš Hlávka [cs].