“[…] the union of genuine dance and theatrical methods of stage performance, creating a new, unique dance form (especially in Germany), which, in contrast to classical ballet, distinguishes itself through an intended reference to reality” (International Dictionary of Modern Dance).
Tanztheater traces its roots back to the German modern dance tradition and Rudolf von Laban; he used expressive dance movement to unite all forms of art media and “achieve an all-embracing, radical change in humankind” (International Dictionary of Modern Dance). Bausch was hugely responsible for expanding and maintaining the presence of Tanztheater in the international dance world. Her unique employment of
Tanztheater as a tool of multifarious political commentary has fascinated and baffled dance and theater critics alike. I found it particularly interesting how Bausch made the human body the focal point of her work, and then how it inherently transcends many of society’s dichotomies – dance/theater, male/female, radical/ materialist, etc.Mechthild Grossmann of Tanztheater Wuppertal in Ten Chi.
It seems like Bausch, in using Tanztheater, really hearkens back to the strong statements that German Expressionism created. The dramatic and intense medium really brings those opinionated statements across so very clearly, just as it did in the 1920's with music and other forms of dance and theatre. I am glad to see that a modern choreographer is not afraid to use this kind of dramatic medium. I don't understand how it would baffle critics, it seems like a very obvious form in which to make a statement. I clicked on the link that discusses Ten Chi, and the pictures are just stunning, I like how she employs the use of sculpture, it compliments the dancer's line very nicely.
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