NELKEN at Sadler’s Wells Theatre

★★★★★

“This revival of Nelken honours its roots, while embracing the experiences of a new generation of dancers”

Pina Bausch’s Nelken, created in 1982 for her company Tanztheater Wuppertal, was first performed at Sadler’s Wells in 2005. Nelken now returns for a triumphant revival under the direction of Boris Charmatz. From the extraordinary dance floor, covered with thousands of pink carnations—Nelken is the German word for carnations—to an eclectic yet entirely appropriate choice of modern and classical music to accompany the dancers, Pina Bausch’s iconic company captures the essence, once again, of what we have come to understand as “Tanztheater.”

What is “Tanztheater?” It’s an intriguing question. It’s described in the programme as “a form that blends dance and everyday movement” but what that description doesn’t cover is the complex layers of irony enfolded in every clash between dance and “everyday” movement. Tanztheater is part of Bausch’s response to the complicated times in which she grew up, to Germany’s own complicated history, and the self referential irony that is associated with that. Unsurprisingly, Bausch’s work is also drama—and a beautiful yet violent story is unfolding in Nelken. Over nearly two hours, everyone is engulfed in this tale of colliding encounters, including the audience.

Don’t come to Nelken expecting a conventional play, or even, for that matter, classical dance. Nelken is something else entirely. It begins with stunning images and peaceful moments as the dancers enter in beautifully designed dresses, regardless of gender, hopping about the carnations like a child’s idea of rabbits. It ends with utter exhaustion and anger. Yes, anger at the audience for making them go through all this. For every beautiful movement, or childlike moment of innocence, Nelken wrenches itself apart with violence. Men in dark suits with barking Alsatians enter this beautiful space, as well as sinister officials demanding passports. Women scream protests as dancers assault one another. Others enact, over and over again, dramatic falls off a table that advances across the stage like a battalion on a battlefield. It is exhausting to watch. Exhausting, but exhilarating. Where else could you see beautiful dancers perform moves with an ironic glance aimed straight at the audience? Or endlessly form and reform a “Nelken” line as they acknowledge not just the moves of classical dance, but turn those into sign language? This is the genius of Pina Bausch—to show us the power of movement growing from childlike beginnings among the beautiful carnations, and flowering into something adult—and dark. Nelken may be about love, but it is also about the things that turn love ugly.

Every dancer in the Tanztheater Wuppertal brings something uniquely themselves into Nelken. It is fascinating to watch individuals reveal themselves even as they perform as part of a company. Under Boris Charmatz’ direction, who now leads Tanztheater Wuppertal (Bausch died in 2009), the dancers continue to ask themselves questions that prompt such individual responses. This revival of Nelken honours its roots, while embracing the experiences of a new generation of dancers.

Sadler’s Wells has produced the work of the Tanztheater Wuppertal often, and have built a loyal following over the years. Last night’s performance of Nelken was sold out, unsurprisingly. Don’t let that put you off trying to get a ticket for their next visit, though. If you succeed, you’ll be delighted by the work of this extraordinary company.

NELKEN

★★★★★

Sadler’s Wells Theatre

NELKEN at Sadler’s Wells Theatre

★★★★★

“This revival of Nelken honours its roots, while embracing the experiences of a new generation of dancers”