Como el musguito en la piedra, ay si, si ,si (Like moss on a stone) is a smorgasbord full of perfectly-formed parcels of mouth-watering food. But a deep sense of poignancy pervades its vibrancy as Pina Bausch died unexpectedly just a few weeks after its premiere in 2009.
There is no point in trying to predict what will emerge of Pina Bausch's Pandora's Box: the tricks may run from the most classical, the purest forms of contemporary dance, or stem from vaudeville.
Tanztheater Wuppertal Pina Bausch brings a 1984 work to London for the first time: Auf dem Gebirge Hat Man ein Geschrei Gehört (On the Mountain a Cry Was Heard).
Pina Bausch’s 1978 classic Kontakthof returned to Japan this week, after a hiatus of 27 years, and showed that her universal theme will endure for a long time with Tanztheater Wuppertal.
There is nothing more fascinating than being able to see two pieces by the same choreographer a brief distance apart. This is particularly so if the choreographer is Pina Bausch. Last year, the company spoiled the London dance community with a ten-show marathon in a month-long residency at the Barbican and at Sadler's Wells, a titanic endeavour for dancers and technicians.
It is Valentine’s evening and there is a special atmosphere in the foyer of Sadler’s Wells as the audience is about to see Two Cigarettes in the Dark, a 1985 piece by Pina Bausch remounted two years ago by her company.
World Cities 2012 is a set of ten pieces created between 1986 and 2009, the year of Pina Bausch’s death. Each is a response to a different city on the globe. Ten Chi, just one chapter of this very alternative travel guide, marks time spent immersed in the day-to-day of Saitama, Japan.The piece begins boldly, before any performers are seen.
In celebration of the 2012 London Olympic Games, Tanztheater Wuppertal Pina Bausch is in London performing ten different works inspired by places around the world, and last night’s Chile-inspired …como el musguito en la piedra, ay si, si, si… was a polished example of the excellence of the company’s dancers and the genius of Pina Bausch.
This performance of Iphigenie auf Tauris is the first time Pina Bausch’s company, Tanztheater Wuppertal, has appeared at Sadler’s Wells since her death in 2009 and in the world of modern dance it is the hottest ticket in town. Based on Christoph Willibald Gluck’s opera of the Greek myth Iphigenie auf Tauris was one of the first works she created for her company in the early seventies.
Le Tanztheater Wuppertal ouvre la nouvelle saison artistique du Théâtre du Châtelet avecViktor, une œuvre emblématique du théâtre dansé de la chorégraphe Pina Bausch, composée en 1986.
Bal étrange où se succèdent de multiples scénettes, Auf dem Gebirge hat man ein Geschrei gehört serpente à travers un réel inquiétant qui dégénère irrémédiablement vers l’absurde. Tantôt bourreaux et victimes, les hommes se heurtent à une violence née d’eux-mêmes.
Emblème du théâtre dansé de Pina Bausch, Für die Kinder von gestern, heute und morgen réveille avec malice ce qui reste d’enfant en chacun… Un spectacle désarmant, mêlant l’humour mordant de la chorégraphe à une réflexion existentielle.
Pour célébrer ces retrouvailles avec le public de l'Opéra Garnier et rendre hommage à l’héritage immense de Pina Bausch, le Tanztheater Wuppertal présente une pièce emblématique du théâtre dansé : Two Cigarettes in the Dark, pièce créée en 1985.
