Not many dance-makers have had their art celebrated in major, award-winning feature films. Pina Bausch has. Wim Wenders’s 2011 Pina and Rainer Hoffmann’s/Anna Linsel’s 2010 Dancing Dreams offered unique insights into her creative genius, facilitating the posthumous popularisation of a dance-specific phenomenon. Yet no film, no documentary and certainly none of the countless writings that popped up after the choreographer’s untimely death has managed to draw an exhaustive picture of Bausch or dispel the vagueness that surrounds what her Tanztheater was and still is about.
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