Pina bausch

Adapting ballets out of plot-heavy novels set in fantasy locations and populated with multiple characters is a rubbish idea. The profound truth of such a proposal is forcefully borne out by the wretched muddle of Wayne McGregor’s MaddAddam, an over-inflated farrago drawn from a triptych of visionary fictions by Margaret Atwood. McGregor – hugely talented and energetic as he is – needs to calm down and slow down and think small Where to start? Apocalyptic themes – political, environmental and ‘societal’ – are evoked in images and spoken narration without McGregor having any means in his hyperactive choreographic vocabulary to translate them meaningfully into dance. Only those who are already

When you take in the richness of a Pina Bausch production — the redolent staging, the eloquent, eccentric twists of the choreography — it’s everything and it’s something. Kontakthof, created in 1978, sounds the bell of hopeful passes and freighted expectations, centuries of hearts on the line, desperate to elude solitude. A keystone of her back catalogue, the piece illuminates the convoluted, often rotten thrusts of human desire, with special emphasis on women’s vulnerability in the dating game. A gramophone pipes out vintage love songs as the ensemble to and fro across a dance hall in Bausch’s standard-issue suits and gowns. The title — a reference to the area of

Dancing at Dusk captures the final rehearsal of a new version of Pina Bausch’s The Rite of Spring. It’s only the third time a company other than Bausch’s own has been handed the reins to this piece, and it’s a treat to see its raw, convulsive rhythms reinterpreted by a new generation of performers. Filmed on a beach in Toubab Dialaw, Senegal, it features a cast of 38 dancers from 14 African countries, assembled to bring a fresh lens to Bausch’s 1975 cult classic, itself a modern reckoning of a decades-old ballet. (Bausch’s original famously underscores the misogyny of the sacrificial virgin, doomed to dance herself to death.) This collaboration