"Pina Bausch" tag
Tanztheater Wuppertal Pina Bausch in Ahnen.© Dave Morgan. (Click image for larger version)

Tanztheater Wuppertal Pina Bausch – Ahnen – London

Expecting the unexpected comes with the territory of any production by Tanztheater Wuppertal Pina Bausch and so even unplanned events can seem to be part of the show.

Tanztheater Wuppertal Pina Bausch in Ahnen.© Dave Morgan. (Click image for larger version)

Gallery – Tanztheater Wuppertal Pina Bausch in Ahnen

Gallery by Dave Morgan…

Tanztheater Wuppertal Pina Bausch in Auf dem Gebirge hat man ein Geschrei gehört.© Foteini Christofilopoulou. (Click image for larger version)

Tanztheater Wuppertal Pina Bausch – Auf dem Gebirge hat man ein Geschrei gehört – London

Auf dem Gebirge comes from her gloomy period, when she was more concerned with the imagery her performers could dig out of themselves than with their abilities as dancers.

Diana Vishneva in Carolyn Carlson's Woman in a Room.© Dave Morgan. (Click image for larger version)

Diana Vishneva – On the Edge: Switch, Woman in a Room – London

According to Carlson’s programme note, the lemons represent segments of challenge and confrontation…

Tanztheater Wuppertal Pina Bausch in Auf dem Gebirge hat man ein Geschrei gehört.© Foteini Christofilopoulou. (Click image for larger version)

Gallery – Tanztheater Wuppertal Pina Bausch in Auf dem Gebirge hat man ein Geschrei gehört

Gallery by Foteini Christofilopoulou…

Julian Wong, Josh Mu, Sophia Ndaba, Jessie Oshodi, Marnie Palomares and Melanie Palomares in AM I.© Branco Gaica. (Click image for larger version)

Shaun Parker & Company – AM I – Melbourne

…AM I is a thematic magpie, shifting from the macro to the micro and back again in its exploration of the nexus of religion and science.

Nazareth Panadero in Pina Bausch's Kontakthof.© Julieta Cevantes. (Click image for larger version)

Tanztheater Wuppertal Pina Bausch – Kontakthof – New York

Herein lies one of the more unfortunate traits of Kontakthof: there is more madness than dancing…

Rocio Molina in Bosque Ardora.© Foteini Christofilopoulou. (Click image for larger version

Rocio Molina – Bosque Ardora – London

What a strange world flamenco dancer Rocío Molina conjures up for us in her latest show…

Tanja Erhart in Hetain Patel's Let's Talk About Dis.© Hugo Glendinning. (Click image for larger version)

Candoco Dance Company – Let’s Talk About Dis, Notturnino – London

A new double bill has just been unveiled by Candoco Dance Company with work by Hetain Patel and Thomas Hauert…

Natalia Osipova and Ivan Vasiliev in Arthur Pita's Facada.© Dave Morgan. (Click image for larger version)

Natalia Osipova and Ivan Vasiliev – Solo for Two: Mercy, Passo, Facada – London

Overall, while an interesting night for them and those who know them, it wasn’t a night that would garner them lots of new fans all hailing them as magnificent. For that you still need to catch them, if you can, doing their fireworks in the likes of Don Quixote…

Rosas in Elena's Aria.© Herman Sorgeloos. (Click image for larger version)

Rosas / Anne Teresa De Keersmaeker – Elena’s Aria and Bartok/Mikrokosmos – New York

…I think it’s safe to say that she is an artist who follows her obsessions with a tenacity that is both admirable and frequently defeating.

Paul White in the studio preparing Anatomy of an Afternoon.© Paul Hyde. (Click image for larger version)

Paul White – Anatomy of an Afternoon – London

It’s a really demanding work, and the intimate setting of the Purcell Room brings you up close to every drop of sweat.

Paul White in the studio preparing Anatomy of an Afternoon.© Paul Hyde. (Click image for larger version)

Paul White – Dancer, Collaborator, Lecturer and Choreographer

5 Questions to Paul White. Last year Australian Paul White danced at the Southbank Centre in Meryl Tankard’s ‘The Oracle’ and won a UK National Dance Award for Outstanding Performance. This week he dances in a new piece at the Southbank – another winner? We catch up with him…

Transitions Dance Company publicity image.© Chris Nash, (Click image for larger version)

Transitions Dance Company – 2014 Mixed bill – London

Transitions Dance Company is a finishing school that provides a special opportunity to contextualise their dance studies and training and this year’s ensemble demonstrated a strong range of capabilities across a wide spectrum of skill sets.

Les ballets C de la B in Alain Platel’s tauberbach.© Les ballets C de la B. (Click image for larger version)

Les ballets C de la B – tauberbach – London

Alain Platel was inspired to make this work by the life of an elderly Brazilian woman named Estamira. Suffering from schizophrenia, yet charismatic and philosophical, she lived on a municipal rubbish dump…

Trisha Brown Company in Set and Reset.© Julieta Cervantes. (Click image for larger version)

Dance at the Hong Kong Arts Festival 2014: Trisha Brown, Akram Khan, Pina Bausch, Jockey Club Series

The 2014 Arts Festival offered contemporary dance from established international masters along with new wave work from Asia, Scandinavia and Hong Kong itself.

Julie Shanahan in 1980.© Foteini Christofilopoulou. (Click image for larger version)

Tanztheater Wuppertal Pina Bausch – 1980 – London

The cast’s collective maturity serves the work well since the central theme of many of the 50 or so episodes concerns the passage of life; concentrating especially on memories of childhood and youth contrasting with images of old age.

The legs of Tanztheater Wuppertal Pina Bausch in 1980.© Foteini Christofilopoulou. (Click image for larger version)

Gallery – Tanztheater Wuppertal Pina Bausch in 1980

Gallery by Foteini Christofilopoulou…

Dusty Button in William Forsythe’s The Second Detail.© Dave Morgan. (Click image for larger version)

2013 Dance Memories – London

Lynette Halewood with her personal selection of London dance memories this last year…

Julia Gillespie and the company in Barak Marshall's The Castaways.© Foteini Christofilopoulou. (Click image for larger version)

Rambert – The Castaways, Subterrain, The Comedy of Change – London

There are many stand-out moments in Marshall’s work, in its humour, visual impact and through the regular break-away from the spoken text in synchronised group dancing to catchy tunes of a middle-eastern, gypsy or Yiddish style…

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