MoveTube: Pina Bausch's Bluebeard

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criminal history Bart?k is a defining moment - full of dark themes, increasingly obsessed with his toxic

When Pina Bausch died in 2009, did not know if their job or their business would survive. So far, however, seems to be much more than cling. After the spectacular season with a duration of one month Tanztheater Wuppertal in London last summer, Sadler Wells said the company will continue to provide a platform for regular London. And taking into account the number of works created by Bausch space of four decades of his career, there should be no shortage of productions to revive.

two on stage this month from the intermediate phase and the end of the race Bausch - Two Cigarettes in the Dark (1985) and Vollmond (2006). Both are new to the UK. But the work that I am more optimistic view of the future is a production much before 1977 Bausch interpretation Castle Bart?k's opera Bluebeard.

There is a fully staged opera: the music is heard intermittently as the central male character switches to a recording of Bart?k and low back obsessive passages. Similarly, although the relationship between him and his criminal partner is obviously stuck in the story of Bluebeard and his late wife, Judith, is refracted through the many other dance couples. On a stage full of leaves, these victims love clump multiple failures by repeating the ritual abuse and self-humiliation, sometimes moan and cry, sometimes muttering words of arias recorded.

• far Bausch. But what is fascinating about Bluebeard is its position in the basin of the choreographer's repertoire, with some elements working against later and a little look back at the formative influence Bausch.

The top half of the clip is taken from the production. In the first minute and a half, Judith - pink - dancing in a crowd of men and women whose staccato rhythms pogoing steps and build the kind of game the bustling energy that was generated in 1975 Bausch's Rite of Spring. While women leaves the group (1.19), the hand, turned in profile, posing, they resemble nymphs suspension versions Nijinksy Wildlife (the ballet was a year before the original rite of spring).

Men are, however, bowing abruptly mechanistic resemble characters from La Mesa Verde, expressionist ballet choreographed by Bausch choreography term mentor Kurt Joos. As these men are then in line (2.06), tiny gestures, grooming narcissistic anticipate alignments in a work like Kontakthof (1978) - but stripped of his pants terribly brilliant Mr. Universe pose (4 , 30) are also back to the pop art of the 1960s and early 1970s. Perhaps the most tantalizing fragment is the choral dance of women (8.40), which move with a classic and graceful body what would happen, but Bausch work until the last phase of his career.

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