Pina Bausch’s ‘Kontakthof’ (photo Theatre de la Ville)
Review by Anna Rogovoy, for Dance Pulp
(BROOKLYN, N.Y.) – Pina Bausch has a gift for holding up a beautiful mirror and gently showing us how ridiculous we look.
In Kontakthof, scenes unfold wildly out of proportion, with hysterical shrieks meeting compulsive preening meeting a fake mouse corpse.
“There are dancers onstage,” Anna Wehsarg comments at one point: “do you see them?” Yes, we do, but we also see ourselves in these rambunctious, melancholic, shy, sarcastic, and earnest portrayals of social endeavoring….