This can be probably the most troublesome side of transmitting her work, Ms. Kaufmann stated. “The first sentence that Jan said to us was that ‘Bluebeard’ isn’t a performance, it’s a state of being. Of course you have to teach the steps, the timing, the form. But something important in Pina’s work is that feelings are very precise too.”
“They tried to let us find our own experience of learning the work, rather than copying from a video,” stated Stephanie Troyak, a Canadian-American dancer with the corporate. “What’s important is the reason behind the steps, and other things too, like a sequence in which the women laugh for a long time. Physically practicing that, allowing yourself to go to a place of hysteria is really interesting if you try to work out where it comes from.”
The motion vocabulary of “Bluebeard” is pivotal in Bausch’s growth; it appears again to the ensemble vitality of “The Rite of Spring,” and to formal ballet classicism, but additionally ahead to a extra naturalistic, expressive, unfinished type, with the entwining, circling arms and cellular higher physique that might characterize her mature type.
“The technical aspect is very present,” stated Christopher Tandy, a Welsh-born firm member who’s performing the position of Bluebeard, throughout a break within the rehearsal. “But for my character, there is a lot of space to travel psychologically and emotionally, a lot of time where Bluebeard is sitting and thinking and feeling.”
And then, he added, Bluebeard has the extra activity of working the sound, stopping, and restarting the music. “You can’t mess that up,” he stated with a grimace.
There are different early items that the corporate would like to reconstruct, Ms. Wagner-Bergelt stated, together with “Renate Emigrates,” “The Piece with the Ship” and “Legend of Chastity.” “Our identity is still about Pina,” she stated, including that producing new work was additionally necessary. (Commissions from 5 choreographers might be introduced in June, and extra are pending for subsequent season.)