When dance-theatre pioneer Pina Bausch died in 2009 – less than a week after her cancer was diagnosed – her shocked troupe declared that it would continue to perform the dozens of bleak, playful, absurd pieces she had made for them, but that new work, by anyone else, was out of the question.
Time passes, however, and canons (even those as rich and as distinguished as Bausch’s) can become tired: the stimulation of new work is vital for dancers. And so, in 2015, the company cast off its “heritage” mantel, commissioning four short new pieces (performed only at its base in Wuppertal), followed by two full-evening ones: the first substantial, non-Bausch works ever to be made for the company. Bon Voyage,...
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