Add a plucky quintet of chickens, a decorous octet of friends, fine (if occasionally hurried) work from the corps and zesty playing from the pit, and you have an evening that effervesced from start to finish with life, love and laughter.
This was an extraordinary hour of dance that was professional in every sense other than the performers being paid... Continue Reading
Review: Tanztheater Wuppertal Pina Bausch - Auf dem Gebirge hat man ein Geschrei gehört - Sadler's Wells
There is a sense of foreboding throughout and it ends in an unusually abrupt and incomplete way... Despite several episodes of lighter intent, it remains uncompromisingly sinister and unsettling from first to last. Continue Reading
In advance of the Grand Final at Sadler's Wells on 9 May, four programmes cover each category final, with an in depth look at the dance forms: ballet, contemporary, hip hop and South Asian... Continue Reading
The “mountain” is a stage covered in soil, and from this barren earth life springs — lives distilled to their eccentricities; behaviours stuck on repeat cycles. Bausch’s world is an ever-shifting collage, moving in a blink from comedy to tragedy, violence to poignance.
At a mere two hours plus interval, Auf dem Gebirge is one of the German choreographer’s more compact works. If you haven’t experienced the very particular theatrical magic of Tanztheater Wuppertal yet (and if you can get a ticket) this is a good place to start.
In short, an all-too Bauschian mound of ideas, originality, darkness and tenderness – performed with passion and conviction by the late choregrapher’s troupe – that would have been so much more potent for a lot of ruthless trimming.
A woman walks up a wall horizontally, supported by two men; a man makes a sandwich of his forearm and offers it to the audience. Another man keeps interrupting his rendition of Cry Me a River to remove articles of clothing. There are balloons, screams, cigarettes and a l…
Few would argue with Wuppertal’s commitment to maintaining the astonishing legacy of Pina Bausch. But as the company start to pick though the choreographer’s back catalogue, I wonder if their project of reviving lesser known productions will be one of diminishing returns.