Analysis Of Pina Baausch's Dance Theatre

One of the defining elements of postmodern dance making is the integration of many mediums into an all-encompassing performance, rather than dance being limited to one specific genre or technique; the rule is, there are no rules. World-renowned choreographer Pina Bausch was a pioneer of this medium, and popularized the hybridization of movement and dramaturgy, commonly referred to as “dance theater.” As a prominent figure in the Postmodern Dance Era, Bausch’s presence is an underlying influence in many current works. When watching works by contemporary innovators such as the young company Wang Ramirez, the creative decision making, seamless partner work, and atypical movement impulses can be traced directly back to Bausch.
What makes dance theater so universal is its regard for humanity, despite the often fantastical, otherworldly elements that are associated with the genre. Pina Bausch’s works began this trend by embodying a delicate dichotomy of reality and
Natural elements brought onstage in most performances, such as water, dirt, a gargantuan boulder, or a field of carnations, transport Bausch’s pieces into other worlds, while still maintaining a tangible connection to reality. Pina Bausch’s company which preserves her legacy, Tanztheater Wuppertal, dictates, “Her feeling for authenticity was reflected in the stage sets of Peter Pabst and Rolf Borzik, in which elemental materials such as earth, grass, and water left visible marks on the movements and costumes of the dancers.” The elemental materials on stage act as enhancements to the movement Bausch set on her dancers, who employ the utmost technical virtuosity while exploring the stranger sides of contemporary dance. Her works are not afraid of “pretty ugly,” rather than placing emphasis on the balletic aesthetic