ABSTRACT
Pina Bausch is one of the outstanding personalities of dance in the second half of the twentieth century. From the start, her dance-theatre was a revolt against classical ballet which was then, as she saw it, stuck in provincialism and beauty as an end in itself. Her theatrical montage of scenes always has the same subject: human relationships, especially the relationship between men and women. Her approach became a model and a credo for a whole generation of choreographers, directors, and filmmakers. By rejecting harmonious and aesthetic dance she has focused on the expressionism of movement.
