One of the most influential choreographers of our time, Pina Bausch and Tanztheater Wuppertal return to Sadler's Wells with Palermo Palermo and Nelken. Signature pieces in Bausch's extensive repertoire, the two works show her unique company of dancers, drawn from across the globe, at the height of their powers.
Palermo Palermo takes its inspiration from the Sicilian city where Bausch and her company first rehearsed the work. Picking their way through the dust and debris which covers the stage, men and women come and go in a sequence of compelling encounters. In an endless search for love and intimacy, snatched moments of tenderness and resolution drive them on through the ruins of the city.
Bausch, Pina , 1940–, German dancer and choreographer. After training with Kurt Jooss, she studied in New York with Antony Tudor, Paul Taylor, and Paul Sanasardo. In 1973 she assumed the post of ballet master of the Wuppertal State Opera Dance Theatre. She became known for her rather bleak vision of humanity and its power struggles, her neoexpressionist approach, and her dramatic, surreal stagings; for example, in Carnations (1983) the stage was covered with thousands of silk carnations that were trampled during the performance, and in Arien (1985) the dance area was filled with ankle-deep water. Her experimental concert ballets have included productions of Kurt Weill's Seven Deadly Sins. She has also choreographed Stravinsky's Sacre du printemps (1975) and Bandoneon (1980). Bausch's later work, which tends to be mellower in tone and more romantic than her earlier dances, include Two Cigarettes in the Dark (1994), The Window Washer (1997), and Danzón (1999). From the 1990s on, Bausch's commissioned work has included pieces inspired by various places, such as Sicily in Palermo, Palermo (1991), Hong Kong in Der Fensterputzer (1997), and Portugal and Brazil in Masurca Fogo (2001).