This is also the most difficult aspect of transmitting his work, said Kaufmann. “The first sentence that Jan told us was that” Bluebeard “is not a performance, it is a state of being. Of course, you have to teach the steps, the time, the form. But something important in Pina’s work is that the feelings are also very precise. “
“They tried to let us find our own experience of learning the job, instead of copying it from a video,” said Stephanie Troyak, a Canadian-American dancer from the company. “The important thing is the reason behind the steps, and other things as well, such as a sequence in which women laugh for a long time. Practicing that physically, allowing you to go to a hysteria is really interesting if you try to find out where comes “.
The vocabulary of movement of “Blue Beard” is fundamental in the development of Bausch; it goes back to the energy of the set of “The Rite of Spring”, and to the formal classicism of ballet, but also to a more naturalistic, expressive and unfinished style, with interlocking and circular arms and the upper part of the mobile body that would characterize its mature style
“The technical aspect is very present,” said Christopher Tandy, a member of the Wales-born company that plays the role of Bluebeard, during a break in the rehearsal. “But for my character, there is a lot of space to travel psychologically and emotionally, a long time where Bluebeard is sitting, thinking and feeling.”
And then, he added, Bluebeard has the additional task of operating the sound, stopping and restarting the music. “You can’t spoil that,” he said with a grimace.
There are other early pieces that the company would love to rebuild, Wagner-Bergelt said, including “Renate Emigrates,” “The Piece with the Ship” and “Legend of Chastity.” “Our identity is still about Pina.” he said, adding that generating new work was also important. (The commissions of five choreographers will be presented in June, and there are more pending for next season).