The familiar ballroom is back. This stage set seems a bit run-down, a bit stuffy, a bit homely; you can almost smell cold smoke, stale sweat, perhaps dust. The ballroom, then, looks just as Rolf Borzik built it in 1978 for the premiere of Pina Bausch's Kontakthof in the Wuppertal Opera House. Wait a minute, though: Something is different about the series of performances last November at the site of the premiere. Everything seems as if a light fog is drifting through the hall. A veil hangs over the stage set: a translucent gauze curtain has been stretched between the stage and the auditorium, and this curtain is transformed, thanks to Ryan Joseph Stafford's sophisticated lighting, into a screen onto which video footage from the original, 46-year-old performance is projected.
Violent ...
