Abstract:
This article approaches the work of Pina Bausch and the creative processes of the Tanztheater Wuppertal Company. The focus is on the work developed during her residencies in several cities around the world, a cartographic repertoire that provides a trans-border and trans-modern historical perspective from the stage. Through the analysis of several scenes of her Água (Water) piece (2001), and the stereotypes of pleasure, identity, gender and happiness, Bausch’s relationship to Latin America (especially Brazil) is described here as an exercise in cultural cannibalism.
Keywords:
Dance-Theatre; Performance; Cannibalism; Body; Gender