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In contemporary dance circles, Pina Bausch is iconic, her style quite unlike any other choreographer and the demands she makes on her dancers unique. To start with, these dancers are not mute. Far from it, they deliver monologues, scream, verbally squabble and intimidate – one repeatedly demands the others' passports in a "show me your papers" moment. You never forget that Bausch was a child of post-war Germany and there is a sense of menace in her 1982 piece Nelken that wouldn't be out of place in a 1940s war film. As it opens, though, you wouldn't suspect this at all. The stage is covered with almost 8,000 silk carnations (nelken means carnation in German) standing upright and every shade of pink as the company arrives in evening dress to sit on their chairs and admire them. This sense of calm will not last. There are four Alsatian dogs that strain on their leashes barking. Dancers rub chopped onion on to their faces or drop earth over their heads. Four stu
INTERVIEW: The German auteur has been Oscar-nominated for ‘Perfect Days’. He talks to Kevin E G Perry about the meaning behind the film, dropping Columbo into Cold War Berlin and how he ended up in a fashion show in front of Zinedine Zidane
A revival of Pina Bausch’s 1982 work is still finding its feet. Plus, full immersion with the Royal Ballet and a rich addition to the international dance scene