Bluebeard, from 1977, is a test of loyalty for even the most ardent Bausch fan. A response to Bartok’s opera about a serial wife-murderer and his last victim, it has none of the humour, nostalgia or ...

Performances in N.Y.C. Advertisement Supported by Bausch’s pivotal 1977 work “Bluebeard,” with its relentless gender battles and powerful drama, returns to the stage after a long gap. By Roslyn Sulcas ...

This article was originally on a blog post platform and may be missing photos, graphics or links. See About archive blog posts. It was not without trepidation in 1984 that I first met Pina Bausch, the ...

This marriage ain't big enough for the both of them.

Los Angeles Opera has hitched its wagon to Barrie Kosky, the ultra-creative Australian director (and intendant of the Komische Oper, Berlin) who caused a sensation last season with his eye-popping ...

It was not without trepidation in 1984 that I met Pina Bausch, the revolutionary German choreographer who died unexpectedly Monday at 68. Her Wuppertal Tanztheater was about to make its U.S. debut by ...

She overcame childhood polio to become a dancer with American Ballet Theater, then taught contemporary dancers and members of Pina Bausch’s acclaimed company. By Claudia Bauer In a Dance Reflections ...