Año: 2009

País: Australia

Dirección: Bruce Beresford

Intérpretes: Bruce Greenwood, Kyle MacLachlan, Joan Chen, Cao Chi,Amanda Schull, Wang Shuangbao, Guo Chengwu, Huang Wen Bin

Argumento: Li Cunxin (autobiografía)

Guión: Jan Sardi

Música: Christopher Gordon

Fotografía: Peter James

Hijo de unos humildes campesinos, Li Cunxin fue separado de sus padres a los 11 años por el régimen comunista para convertirlo en alumno de la Academia de Baile de Pekín. Allí tiene un trascendental encuentro con el profesor Xiao, que le ayudará a progresar. Convertido ya en un adulto, es seleccionado para recibir entrenamiento durante seis meses en una prestigiosa academia de ballet de Houston, donde dejará a los occidentales omnubilados por sus dotes para el baile. Por su parte, él se queda admirado al comprobar que el capitalismo no es tan horrible como se lo habían pintado, y se enamora de una americana...

Año: 2011

Duración: 88 min.

País: Rusia

Director: Dimitri Povolovski

Guión: Dimitri Povolovski

Música: Alexander Manotskov

Fotografía: Sergei Mokritskiy

Reparto: Dmitri Viskubenko, Anna Mikhalkova, Vladimir Kasputin, Ilya Rutberg, Marina Politseimako, Lyudmilla Titova, Anatoly Kot, Evegeny Sosnovski, Ksenia Surkova,Lilya Yamada, Pyotr Raikov, Mark Ganeev, Tina Barkalaya, Igor Zolotovitsky

Productora: Novye Liudi

Género: Drama

Sinopsis: Moscú 1987, en plena perestroïka. Boris, de 15 años, vive con su madre en Moscú y no conoce a su padre. Él es alumno de la prestigiosa escuela de ballet del Bolshoi. Descubre que Baryshnikov vive en Nueva York y está reconocido cómo uno de los mejores bailarines del mundo. Su madre, que es guía en el IIntourist lo conoció una vez. Así que, a pesar de que no se parecen, Boris decide que es hijo de Baryshnikov.

Año2011

País: Estados Unidos

Director: Bess Kargman

Documental que sigue a 6 bailarines que aspiran a competir en el Youth America Grand Prix, el campeonato de ballet más importante y prestigioso del mundo. 

Cada año, cerca de 5000 niños y adolescentes de todo el mundo se presentan al Youth America Grand Prix la competencia de ballet más grande del mundo. De todos los participantes, solo 300 llegaran a la final de la competencia en Nueva York y unos pocos lograrán conseguir una de las becas y contratos con las más importantes compañías de ballet del mundo que les permitirán seguir con sus carreras. De esas 5000 historias, la directora Bess Kargman eligió siete para su documental “First Position”, historias que dejan claro que nada en la vida llega sin sacrificios.

Joan Sebastian es un joven colombiano que tuvo que dejar a su familia para poder seguir sus sueños en Estados Unidos. Michela es una huérfana sierraleonesa que quiere romper con los estereotipos hacia las bailarinas afrodescendientes y Rebecca una adolescente estadounidense que puede ser la representación perfecta de todos los estereotipos que existen sobre las bailarinas de ballet. Estas son algunas de las historias que se muestran en este documental, en el que no hay rivalidades atrás del escenario, ni padres frustrados que quieren cumplir sus sueños a costas de sus hijos. Aquí solo hay jóvenes que disfrutan y sobre todo aman lo que hacen.

Kargman, quien practicó ballet en su niñez, conoce perfectamente el mundo de la danza y eso se nota en la manera como muestra las arduas sesiones de entrenamiento en las que se repiten los mismos movimientos una y otra vez o los ejercicios de estiramientos que parecen más métodos de tortura, pero que a pesar de lo complicado son hechos por los bailarines siempre con una sonrisa en la boca porque saben que son necesarios en su camino al éxito. En otro punto donde se nota la sensibilidad artística de la directora es en la manera en como filma las escenas de baile, siempre buscando ángulos y posiciones que permitan ver la cadencia de los movimientos de los bailarines y que nosotros como espectadores entendamos lo que los bailarines quieren expresar.

“First Position” avanza rápidamente, pero eso no impide que las historias de los protagonistas, sus familias y profesores tengan el desarrollo adecuado y que nos podamos relacionar con ellos, sintiendo sus triunfos y derrotas. Todo en la vida requiere sacrificio, pero la vida no es justa y algunos de los protagonistas terminan fracasando en sus intentos por triunfar, pero eso no les resta importancia a todo lo que han logrado. Al final, “First Position” no solo logra mostrar la belleza del baile sino también la tenacidad necesaria para alcanzar el éxito en ese mundo.

Release: 2013
Genre: drama, music, romance
Run Time: 83 min
Country: USA
IMDB Link: Five Dances

Synopsis: FIVE DANCES is a creatively adventurous narrative feature film set in the New York ‘downtown’ modern dance world. The story follows the rocky emotional journey of an 18-year old dancer with talent to burn, who must choose between his responsibility to his broken family in the Midwest, and forging a life and career for himself.

http://vkmovies.me/watch-five-dances-2013-online/
http://embed.nowvideo.sx/embed.php?v=9489624c8f008

Entity premiered on 10 April 2008 at Sadler's Wells, London

An hour-long breathtaking trip through a soundscape created by Coldplay and Massive Attack collaborator, Jon Hopkins, and award-winning composer Joby Talbot (The Divine Comedy), ENTITY is a staggering blend of bodies, lights, technology and film that mark McGregor at the cutting edge of contemporary culture. Technically astonishing, emotionally uncompromising and hard-hitting, McGregor's work breaks boundaries and defies categorisation.

Co-commissioned by: Het Muziektheater, (Amsterdam); Sadler's Wells, (London); Biennale de la Danse (Lyon); DanceEast (Ipswich) and Swindon Dance / Bath University ICIA / Wyvern (HST) (Swindon/Bath) and supported by The Linbury Biennial Prize for Stage Design, The Estate of Sir John Drummond, The Quercus Trust, Calouste Gulbenkian Foundation, University of California San Diego and PRSFoundation for new music.

Concept, Direction & Choreography: Wayne McGregor

Music: Joby Talbot & Jon Hopkins

Set & Costume Design: Patrick Burnier

Lighting Design: Lucy Carter

Video Design: Ravi Deepres

Company: Wayne McGregor | Random Dance

Cast: 10 dancers

Length: 60 mins

La La La Human Steps’ Louise Lecavalier and Édouard Lock, the dance company’s founder, choreographer and artistic director. ‘Human Sex’ premiered in 1985 and rose the troupe to international prominence.

Director 
Bernard Picard
From Ballet by 

Pyotr Tchaikovsky

Set Designer, Costume Designer

Simon Virsaladze

ChoreographyMarius Petipa
Conductor

Viktor Fedotov

cast

Princess AuroraLarissa Lezhnina

Prince DésiréFaurouk Ruzimatov

Lilac FairyYulia Makhalina

Cruel Fairy CarabosseVadim Guliayev

The KingGennady Babanin

The QueenNina Mikhailova

Babette Mangolte

(b. 1941 Montmorot, France; lives New York City)

Water Motor, 1978

16mm black-and-white film, 7:55 minutes

In 1978, Babette Mangolte made a film of famed choreographer Trisha Brown dancing a hyperkinetic solo called Water Motor. The first portion was filmed in "real time," at 24 frames per second, and the second at half-speed, or 48 frames per second. In the second take, Brown's movements appear elongated in time, the slowed frame rate making visible what was previously inaccessible to the naked eye. As Mangolte describes, "the movement takes on a luscious quality that informs the viewer of what was missed before." Filmmaker Yvonne Rainer called Water Motor "One of the best dance films ever made.

'Dancing Dreams. Aprendiendo a bailar con Pina Bausch' es un documental que recoge los progresos de un grupo de jóvenes que, durante diez meses, se reúnen todos los sábados para ensayar con la bailarina Pina Bausch, cuya intención es montar el espectáculo "Kontakthof", término para denominar a una casa de citas. La obra se estrenó en 1978 y tuvo una gran acogida.

Los alumnos pertenecen a familias muy dispares. Algunos son ricos y otros no, muchos de ellos no han bailado nunca mientras que otros dominan la danza. Sus pensamientos y opiniones, su manera de ver el mundo e incluso sus relaciones sentimentales van madurando al mismo tiempo que ellos mejoran como bailarines.

Gracias a dos bailarinas de la compañía, Joséphine Ann Endicott y Béatrice Billet, estos jóvenes llegarán a apreciar el sentido de la obra y el valor de su propio papel en ella.

Homenaje de Wim Wenders a la coreógrafa Pina Bausch. A lo largo del filme se representan algunas de las piezas más importantes de la compañía Tanztheater de Wuppertal, dirigida por Pina desde 1973, entre ellas, 'Café Müller' (1978), 'Kontakthof' (1978), 'Das Frühlingsopfer' (1975) y 'Vollmond' (2006). 

La cinta ha sido rodada en tres dimensiones, una tecnología que se había utilizado hasta el momento en grandes superproducciones y en películas de animación. Ahora, el 3-D, gracias a dos alemanes, Wenders y Werner Herzog (que también ha rodado así su 'Cave of Forgotten Dreams'), también accede al campo del documental de autor. 

La intención de Wenders con el 3-D era que el espectador se sintiera como si estuviera viendo el espectáculo desde la mejor posición del patio de butacas y que fuera una experiencia única. De esa forma las coreografías adquieren un poder visual y una plasticidad en la pantalla deslumbrantes. 

Pina Bausch murió antes de ver terminada la cinta, en julio de 2010, a los 68 años, cuando le fue diagnosticado un cáncer, pero su legado ha quedado así para siempre plasmado en una película hermosa y mágica, de una intensidad poética arrolladora. El amor, la soledad, el miedo y la lucha de sexo fueron algunos de los temas principales sobre los que Pina basó unas coreografías que comenzaron a conocerse como "teatro- danza", en las que no solo se bailaba, sino que se expresaban los sentimientos más descarnados a través de la actuación.

Duración: 46 Minutos 

La película de vídeo Roseland, dirigida por Walter Verdin, Octavio Iturbe y Wim Vandekeybus, está hecho de material de primeros tres coreografías Vandekeybus: What the Body Does Not Remember (1987), Les porteuses de mauvaises nouvelles (1989) y The Weight of a Hand (1990). Roseland coloca estos trabajos coreográficos en el entorno extraordinario de un cine de Bruselas en ruinas que ha sido abandonado por los últimos veinte años. Roseland recibió el Dance Screen Award por 'transformar la energía teatral de la coreografía en una experiencia dinámica de la pantalla, utilizando una amplia gama de técnicas cinematográficas.'

The player will show in this paragraph

Duration: 148 minutes

The Co(te)lette Film

The Co(te)lette Film is the film version of the dance production Co(te)lette. British director Mike Figgis was on board to direct this uncompromising film based on a concept and choreography by Ann Van den Broek. The film was selected for the segment ‘Belgian Cinema Today’ of the International Film Festival in Ghent.

In The Co(te)lette Film three women dance in a rather intimate atmosphere, caught between desire and fulfillment. No confrontation, rivalry, story, solution or ending; the storyline in The Co(te)lette Film is restless and empty.

“Devastated! Quite devastated! That is how you feel after watching Mike Figgis’s film version of Ann Van den Broek’s intense, controversial and award-winning choreography Co(te)lette. Afterward the discussion can flare up, as it does after every dance film, about the filmmaker’s contribution to this unique art form. One that reaches seldom seen heights thanks to the Flemish choreographer. With films such as Leaving Las Vegas, Mr. Jones, Internal Affairs on his résumé, Mike Figgis is not just anyone either. With Timecode he showed that he was not afraid to explore new narrative forms. In The Co(te)lette Film he again uses his tried and tested split-screen system. He uses it sparingly and it does not distract the viewer from the choreography itself.

It concerns three women who are confronted by their own bodies as well as the bodies of the other women. They also want to engage the spectators standing around the podium. Thanks to the camera work, which alternates between close-ups and long shots, the cinema audience is engaged as well. All the elements add up to a confrontational performance about desire, lust, fulfillment, attraction, rejection, seduction, searching, finding and not finding. Unlike the stage production, in the film there are spectators standing around the podium. When Ann Van den Broek won a prestigious Dutch dance award for Co(te)lette, the jury called it ‘a daring and fragile choreography, raw, confrontational and gripping’. There is no better way to describe the physical power of the performance. The scars on the dancers’ bodies are visible. Figgis’s camera is merciless.”

Source: Film Festival Ghent

director Mike Figgis

concept and choreography Ann Van den Broek

dance Frauke Mariën, Cecilia Moisio and Judit Ruiz Onandi

extra’s and understudy’s Erin Harty, Karen Lamberts and Emma Seresia

special extra’s Lie Antonissen, Surah Dohnke

première 19 October, 2010, Filmfestival Ghent (B)

other contributors: producers Vito Di Rosa and Bart Van Langendonck / Lighting cameraman Oliver Schofield / camera Mike Figgis /production designer Bernie van Velzen / editor Arlen Figgis / composer original music Arne Van Dongen / costume Catherine Van Bree / make up Alexandra Kourline / line producer Xavier Rombaut / co-producer Monique van Beek - WArd/waRD / producers NTR Bart Soepnel and Joost Van Krieken / associate producer Janine Dijkmeijer / first assistant director Aram Van de Rest / sound recordist Luc Cuveele / gaffer Laurens De Grande / camera assistant Kristof Meert / second assistant director Nathalie Teirlinck / constructor Merijn Sep / wardrobe assistantCharlotte Van Peel

The Co(te)lette Film is a co-production of Savage Film, a production company based in Brussels; the British Red Mullet; WArd/WaRD (NL/B) and the Dutch NTR. It was made with the financial support of the Nederlandse Mediafonds (Dutch Media Foundation) and the Vlaams Audivisueel Fonds (Flemish Audiovisual Foundation).

title : Cour d'honneur (2013)

conception and direction : Jérôme Bel

assisted by : Maxime Kurvers

with spectators : Virginie Andreu, Elena Borghese, Vassia Chavaroche, Pascal Hamant, Daniel Le Beuan, Yves Leopold, Bernard Lescure, Adrien Mariani, Anna Mazzia, Jacqueline Micoud, Alix Nelva, Jérôme Piron, Monique Rivoli, Marie Zicari

and performers : Isabelle Huppert, Samuel Lefeuvre, Antoine Le Ménestrel, Agnès Sourdillon, Maciej Stuhr, Oscar Van Rompay

texts extract : Médée by Euripide, French translation by Myrto Gondicas and Pierre Judet de la Combe, Le Prince de Hombourg by Heinrich von Kleist, French translation by Jean Curtis, Les Bienveillantes by Jonathan Littell, Polish translation by Katarzyna Kaminska-Maurugeon, L'École des femmes by Molière

music : Philipoctus De Caserta (Codex Chantilly), Scott Gibbons, Wolfgang Amadeus Mozart, Richard Wagner

thanks to : Didier Bezace / Théâtre de la Commune, Reinout Bussemaker, Romeo Castellucci, Cidalia da Costa, Anne Teresa De Keersmaeker, Pierre Fontes, Jean-Louis Mailles, Maison Jean Vilar, Christoph Marthaler, Marie-Josée Mas, Benoît Minvielle, Jean-Noël Obert, Colm O'Callaghan, Alice Pialoux, Alain Platel, Rosas, Björn Schmelzer – Graindelavoix, Johan Simons / NT Gent, Malgorzata Szczesniak, Nara Trochel, Lies van Assche, Anna Viebrock, Nina von Mechow, Krzysztof Warlikowski, Christophe Wavelet, Lina Zohair

production : Festival d'Avignon

coproduction : France Télévisions, Association R.B. Jérôme Bel (Paris)

For a long time, Jérôme Bel wanted to do a show on the memory of a theatre, on the memory of shows that would have been presented at it. We know that shows, stage performance properly speaking, leave nothing behind them except in the memory of the spectators who attended the performances. Because it is in fact the very nature of the live show to die, to disappear. Which is what creates both its grandeur and its weakness. It was in thinking of the Cour d'honneur of the Palais des papes, unquestionably one of the most symbolic theatre venues in France, that he imagined a solution: a show staging spectators who themselves relate their memories of this place and the shows they saw there. The spectators invited to take part in this project are theatre buffs or not. They are between 11 and 70 years old; they are students, teachers, graphic artists or nurses; they live in Vichy, Avignon, Paris or Clermont-Ferrand. Each in his or her own way, they offer an account of their experiences as spectators, good or bad. The challenges of this creation are therefore to attempt to quantify how shows are received by the spectators and to measure the influence of art on their life, thus in the Cour d'honneur. Because the spectator had to be given the place he or she deserved: the place of honour.

title : Pichet Klunchun and myself (2005)

a commission by : Tang Fu Kuen for the Bangkok Fringe Festival

concept : Jerome Bel

creation : Bangkok (Thailand) on Decembre 12th 2004, at the Bangkok Fringe festival

by and with : Jerome Bel and Pichet Klunchun

production : Bangkok Fringe Festival (Bangkok), SACD Le Vif du Sujet (Paris), Festival Montpellier Danse 2005 (Montpellier), R.B. Jérôme Bel (Paris)

with the support of : Institut Français (Paris), French Alliance of Bangkok, Cultural Service of the French Embassy in Bangkok and « The Flying Circus Project » in Singapore

thanks to : Frie Leysen and Mark De Putter

duration : 105 minutes approximatively

language : The piece is in English without translation (a live translation is possible - see technical rider)

subsidies : R.B. Jerome Bel is supported by the Direction regionale des affaires culturelles d’Ile-de-France (French Ministry of Culture and Communication) and by the Institut Français (French Ministry for Foreign Affairs) for its international tours

R.B. Jerome Bel :

artistic advice and company development : Rebecca Lee

production manager : Sandro Grando

website : www.jeromebel.fr

In 2008 Jerome Bel and Pichet Klunchun received the Routes Princess Margriet Award for Cultural Diversity (European Cultural Foundation) for Pichet Klunchun & myself (2005).


" In September 2004, I was invited in Bangkok by Singaporean curator Tang Fu Kuen to lead a project. I wondered for a while if I should accept the invitation or not, and I finally proposed to try to work with a traditional Thai dancer.

I am indeed deeply interested in the extra-occidental performing arts traditions, for both dance and theatre, since being dazzled by a Kabuki performance I attended in Tokyo in 1989. I had similar feelings with Indian traditional dance or with the parade of the Rio de Janeiro Carnival.

Tang Fu Kuen suggested to dancer and choreographer Pichet Klunchun that he meets me during my stay in Bangkok in December of the same year. We met without knowing anything about what could finally result from our meeting. I had just prepared beforehand some questions to ask to this dancer. Personally, I had only a vague idea of what traditional Thai dance was, and Pichet Klunchun didn’t know my work.

The circumstances of our meeting determined the nature and the form of the result we obtained. Jet lag, the fascination that the city of Bangkok and its inhabitants exerted on me, the monstrous traffic jams which did not make it possible to do all the rehearsals, the context of the Bangkok Fringe Festival where the piece had to be premiered, led us to present to the audience a kind of theatrical report of our experience.

We happened to produce a kind of theatrical and choreographic documentary on our real situation. The piece puts two artists face to face who know nothing about each other, who have very different aesthetical practices and who both try to find out more about each other, and above all about their respective artistic practices, despite the abyssal cultural gap separating them.

Some very problematic notions such as euro-centrism, inter-culturalism, or cultural globalization, are issues defined all through the piece. These notions which are so delicate to discuss can’t be left out. The historical moment doesn’t allow what is at stake here to be skipped over ".

Jérôme Bel, Seoul, June 1st 2005

title : The last performance (1998)

concept : Jerome Bel

choreography : Susanne Linke, excerpts from Wandlung (1978)

music : Franz Schubert, excerpts from Death and the Maiden

creation : Brussels (Belgium), on November 12th 1998, at the Kaaitheate

with : Claire Haenni, Antonio Carallo, Frederic Seguette, Jerome Bel

production : Centro Cultural de Belem (Lisbon), Kaaitheater (Brussels), R.B. Jerome Bel (Paris)

with the support of : CNDC / l'Esquisse (Angers), la Ferme du Buisson (Marne-la-Vallee), la Menagerie de Verre (Paris) and the Internationale Tanzwochen (Vienna)

thanks to : Pascale Paoli and Jean Torrent

duration : 60 minutes

subsidies : R.B. Jerome Bel is supported by the Direction regionale des affaires culturelles d’Ile-de-France (French Ministry of Culture and Communication) and by the Institut Français (French Ministry for Foreign Affairs) for its international tours

websites : www.jeromebel.fr

Performance's only life is the present. Performance cannot be saved, recorded, documented or otherwise participate in the circulation of representations of representations : once it does so, it becomes something other than performance. To the degree that performance attempts to enter the economy of reproduction, it betrays and lessens the promise of its own ontology. Performance's being, like the ontology of subjectivity proposed here, becomes itself through disappearance.

Peggy Phelan in Unmarked the politics of performance Routledge Ed.

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title : nom donné par l’auteur (1994)

a performance by : Jerome Bel

creation : Lisbon (Portugal), September 21st 1994, at the Teatro CineArte for the Skite 94 festival

with : Jerome Bel and Frederic Seguette

production : R.B. Jérôme Bel (Paris) - France

duration : 60 minutes

subsidies : R.B. Jerome Bel is supported by the Direction regionale des affaires culturelles d’Ile-de-France (French Ministry of Culture and Communication) and by the Institut Français (French Ministry for Foreign Affairs) for its international tours

R.B. Jerome Bel :

artistic advice and company development : Rebecca Lee

production manager : Sandro Grando

websites : www.jeromebel.fr

Performance :

General effect of things or facts, which are presented to public view, capable of provoking reactions.

in Petit Robert 1, French dictionary

Duration: 22 minutes

title : Shirtology (1997)
concept : Jerome Bel
creation : Lisbon (Portugal), on February 22nd 1997, at the Centro Cultural de Belem
with : Frederic Seguette
production : Centro Cultural de Belem (Lisbon), Victoria (Ghent), R.B. Jerome Bel (Paris)
duration : 25 minutes in three parts
subsidies : R.B. Jerome Bel is supported by the Direction regionale des affaires culturelles d’Ile-de-France (French Ministry of Culture and Communication) and by Cultures France (French Ministry for Foreign Affairs) for its international tours
production manager : Sandro Grando

A given language is a social institution, which does not depend on individuals ; it is a normative reserve out of which individuals draw their speech, in other words, it is “ a virtual system which only actualises itself within and through speech ”. Speech is an individual act, “ the actualised expression of the function of language ”, THE LANGUAGE being a generic term which encompasses given languages and speech. It appears most useful to distinguish between two analogical realities within the notion of clothing : the first one is an essentially social and institutional reality, not depending on individuals and operating like a systematic, normative reserve, out of which the individuals draw their own outfits ; we suggest calling this reality THE COSTUME, which in Saussure corresponds to a given language ; and a second individual reality, which is a real act of “ clothing ” by which individuals, in endorsing it, actualise the general institution of the costume ; we suggest calling this second reality CLOTHES, which in Saussure corresponds to speech. Costume and clothes form a generic whole, which we suggest calling from now on CLOTHING.

Roland Barthes in Annales, "Histoire et sociologie du vêtement", July-September 1957


Trained as a choreographer, Jérôme Bel forgets most of dance, as if, in the forgetting, something else might be possible. Working in a language of movement and image that could be described as a kind of delicate, humane minimalism, his interests are located just at the slippery, evocative meeting point between the physical and the philosophical - the body itself and the processes by which live presence is constructed, the processes of language and the relationship of language to objects (animate and inanimate), the process by which narrative (or meaning) is constructed, through the deployment of objects (animate and inanimate) in time and space. (…) The T-shirts second hand - replete with the workaday slogans, logos, icons and pictures of international capitalist culture, much of it outdated ; slogans for products or ideas you don’t remember so well, numbers and dates (festivals, occasions), statistics, jokes, faces, admonishments, warnings, demands.


As playful as it is minimalist, Shirtology is « simply » a matter of deploying the people and the T-shirts in combination and arrangement – structures through time, pictures in space. The work of the piece is that of dressing and appearing – changing clothes, presenting oneself, in T-shirts – the body clothed, always in language, mainly in silence – the fragmented conversation of written slogans on neighbouring T-shirts.

Tim Etchells in Certain fragments Routledge Ed.

Directed by Anne Linsel, Germany, 2006; 44m 

Before choreographer Pina Bausch and her Tanz-theater Wuppertal were known around the world, her new, unusual and original body language was ill-received. In the early days the audience (and most critics) were irritated and confused. Tumultuous scenes in the audience were not unusual. Pina Bausch speaks about the beginnings of the Tanztheater and the inescapable path she felt she had to follow. She talks about rehearsals, her pieces (more than 30 by now), her co-productionswith other cities and countries and being on tour. Some of her dancers, the set designer Peter Pabst and the costume designer Marion Cito, all of whom have been with Pina Bausch for decades, talk about working with her. Shot in Venice at the Teatro Fenice, in Lisbon and Brussels, and in Wuppertal with the support of WDR Cologne, and Arte France.

Die Klage der Kaiserin (1990) aka The Complaint of an Empress

This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations, such as the woods and fields around Wuppertal, the city centre, the suspension railway, a carpet shop, a greenhouse and the rehearsal room. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.

Performed by the Wuppertaler Tanztheater: Mariko Aoyama, Anne Marie Benati, Benedicte Billiet, Rolando Brenes Calvo, Antonio Carallo, Finola Cronin, Dominique Duszynski, Mechthild Grossmann, Barbara Hampel, Kyomi Ichida, Urs Kaufmann, Ed Kortlandt, Beatrice Libonati, Anne Martin, Dominique Mercy, Jan Minarik, Helena Pikon, Dana Sapiro, Jean-Laurent Sasportes, Mark Sieczkarek, Julie Ann Stanzak, Mark Alan Wilson, and others.