EDITOR'S NOTE
Pina Bausch:
Three Generations On

Pina Bausch’s dance-theater has left an indelible mark on Brooklyn (and the world), captivating and confronting audiences, dancers, and choreographers since Tanztheater Wuppertal’s BAM premiere in 1984. The return to BAM of the iconic double-bill Café Müller and The Rite of Spring this past month reminded us of Bausch’s enduring power—to haunt, to dazzle—across time. In recognition of her abiding impact and influence, the Rail ’s coverage is situated in three generational vantage points on Bausch’s career and legacy.

The Rail is honored to have dance critic doyenne Deborah Jowitt bringing to bear the long view of the Tanztheater Wuppertal’s lasting sway over the dance world; she is one of the very few who can. Deborah is joined by the dance scholar Clare Croft, and by Rail contributing writer Sariel Frankfurter.

If you have a reflection on Bausch’s legacy, tweet it to @gillianjakab or @TheBrooklynRail.

—Gillian Jakab

Contributor

Gillian Jakab

GILLIAN JAKAB is the dance editor of the Brooklyn Rail.

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