Welcome! This is your first free article. Get more free articles when you sign up with your email.

Bluebeard. While Listening to a Tape Recording of Bela Bartok’s Opera “Duke Bluebeard’s Castle”

“Unequivocal, uncompromising and still shocking”
FacebookTwitterLinkedIn

Pina Bausch made this groundbreaking work in 1977. By deconstructing formal dance structures, applying abandoned theatricality and asking performers to excavate and expose their deepest fears and desires, she created the blueprint for all her subsequent endeavours. Like most of her works, Bluebeard interrogates the relationship between men and women in the most visceral, shocking and occasionally humorous way.

In the large empty room of an abandoned house, where the floor is covered in dead leaves, Bluebeard sits at a tape recorder playing and rewinding the opening of Bela Bartok’s Bluebeard’s Castle. His latest wife, Judith, lies on the floor, arms up-stretched. Every time they start to embrace, he jumps up and rewinds the tape. This is coitus interruptus in extremis.

A funereal conga of men and women snake across the stage, heads bowed. Women are singled out and positioned here and there. There is much shaking of tresses and partial disrobing before violent action begins and bodies fly across the room, slamming into walls and each other. The space becomes a churning playground of eroticised violence and soon the screaming starts, followed by laughter as women mock the cheesy machismo poses of the men. It is a battle of the sexes in a marital abattoir: a fight, if not to the death, then to physical, mental and psychical exhaustion.

As an interpretation of the power struggle between male and female it is unequivocal, uncompromising and still shocking. If the relentless repetition of the final sequence tests the patience of even the most dedicated Bausch fan it thrills the blood to see this trailblazing work performed in the UK for the first time.


Related to this Review

Choreographer Alan Lucien Oyen: ‘Pina Bausch’s legacy is what’s most important to the company’Choreographer Alan Lucien Oyen: ‘Pina Bausch’s legacy is what’s most important to the company’

Production Details
Production nameBluebeard. While Listening to a Tape Recording of Bela Bartok’s Opera “Duke Bluebeard’s Castle”
VenueSadler's Wells
LocationLondon
StartsFebruary 12, 2020
EndsFebruary 15, 2020
Running time1hr 55mins
ComposerBela Bartok
ChoreographerPina Bausch
Set designerRolf Borzik
Costume designerRolf Borzik
Lighting designerFernando Jacon
Sound designerNirto Karsten Fischer
CastSilvia Farias Heredia, Christopher Tandy, Michael Carter, Oleg Stepanov, Ophelia Young, Tsai-Wei Tien
Stage managerAndreas Deutz
ProducerTanztheater Wuppertal Pina Bausch
VerdictPina Bausch’s first radical departure from conventional dance has lost none of its visceral power
FacebookTwitterLinkedIn
Add New Comment
You must be logged in to comment.
Neil Norman

Neil Norman

Neil Norman

Neil Norman

Your subscription helps ensure our journalism can continue

Invest in The Stage today with a subscription starting at just £3.98
The Stage
© Copyright The Stage Media Company Limited 2020
Facebook
Instagram
Twitter
Linked In
Pinterest
YouTube