Contents. List of figures. Acknowledgements. Introduction. I. Dance and Theatre Roots and Connections. II. Creating Bausch’s World. III. Tanztheater – A New Form. IV. Bausch’s Reception. V. Critical Perspectives. Bibliography. Index.
Royd Climenhaga currently teaches at Eugene Lang College/The New School University in New York City. He writes on intersections bewteen dance and theater and develops and produces new physical performance works as Co-Artistic director of Human Company. He is the author of Pina Bausch (2008) in the Routledge Performance Practitioners series.
'Climenhaga's book...is not yet another omnibus volume, collecting essays from a symposium. It is a complex and excellent edited sourcebook that ties together traces of written memories which have been slumbering in archived magazines or newspapers - waiting to be woken up from a 30-year sleep. Ultimately, The Pina Bausch Sourcebook - The Making of Tanztheater is a source in itself and can be marked as a 'Survey of Remembering Tanztheater'. As a glance at ways of 'Remembering Dance', this book is an indispensable contribution to the (still to be broadened out) research literature on dance for every scholar and student working in the field of dance history and theory. It focuses on and highlights the roots, aesthetics and methods of the German Tanztheater as well as its followers from the 1960s until today. It is a also a source for the reader who seeks to deeply research, ask further questions and continue her or his own path of reflecting on the Wuppertaler Tanztheater and the dance as art form in general.'Theaterforschung
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