Herein lies one of the more unfortunate traits of Kontakthof: there is more madness than dancing...
Tag - Tanztheater Wuppertal Pina Bausch
It’s a really demanding work, and the intimate setting of the Purcell Room brings you up close to every drop of sweat.
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 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.
The 2014 Arts Festival offered contemporary dance from established international masters along with new wave work from Asia, Scandinavia and Hong Kong itself.
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.
Gallery by Foteini Christofilopoulou...
It’s a virtuoso accomplishment by all the collaborators. ...But Stravinsky’s score in this melodramatic recording, conducted by Kent Nagano, is too huge for a single figure.
Working backwards from the title song that ends Two Cigarettes in the Dark, it’s possible to discern a theme in Pina Bausch’s 1985 piece...
18 pictures by Dave Morgan as part of our overall review...
The Dance Section of the Critics’ Circle announced the winners of the 13th National Dance Awards at The Place on 28th January 2013.
The Dance Section of the Critics’ Circle announced the nominations for the 13th National Dance Awards at a reception held at The Place on 9th November 2012. The winners will be announced 28th January 2013.
Shivalingappa first caught my eye at the 2007 Fall For Dance festival, where she danced Varnam, a Kuchipudi solo. I was immediately struck by her musicality, the power and precision of her footwork, and the absolute clarity of her movements. And to the grace of her upper body and a jump that seems to comes out of nowhere, light and airy as a cat’s.
Bausch is a mystery. To some, she represents the summit of poetry and expression, worthy of a cult-like following. Clearly, these dancers derive great emotional sustenance from performing her work. And it suits them. But, with the exception of Gillot’s solo and a few moments here and there, it left me cold.
‘We do not describe a city’, Bausch is quoted as saying. ‘We describe the feelings we have picked up there.’
Pina Bausch’s particular brand of dance theatre owns many characteristics that are reiterated again and again throughout her work. The balance of these motifs changed over the years but the act of breaching the fourth wall is generally present.
Sometimes Água’s moving images are dizzyingly beautiful, undulating palm fronds echoing the women’s waving tresses; sometimes they seem reminders that civilisation is only skin deep; or that the untamed jungle is indifferent to human concerns.
Pina Bausch and her designer, Peter Pabst, appear to have thrown in the Turkish towel when it came to the company’s evocation of Istanbul. Maybe they were overwhelmed by the overlay of cultures, past and present.
Ten Chi is like a musical composition mostly in a minor key – an accumulation of moments and motifs without a strong sense of purpose. In fact, much of the recorded music seems half-heard in sleep. There’s a pervasive feeling of melancholy, of a culture beyond comprehension except in crass tourist terms.
Once again, the performers of Tanztheater Wuppertal Pina Bausch win over the audience with an apparently effortless ease.... Anna Wehsarg – a gorgeous statuesque redhead with legs that go on forever - can just walk on the stage, gazing into the audience and she has me captured.