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Sasha Waltz noBody

Waltz is also a storyteller, and has found her most immediate material in those with whom she works - her dancers. So the work is based on generations and where each person belongs, and what their individual, personal, detailed, isolated stories are.

Individuals shared anatomical secrets with us, or played with anatomy - in one of my favourite moments, a pile of plates became the removable discs of a human spine. In noBody, performers engaged in a mid-air tussle with a huge, inflated bubble which then rolled around threatening to gobble them up.

How does space become different with, say, ten living bodies in it? Waltz wants to make a human map of it.

Nobody (2002/II)

How do anywhere and anything inanimate become altered by contact with a person in studied movement? Indeed, to call her a magician of sorts is no overstatement: Then, there is the architecture, the physicalisation, of space: Sasha Waltz is an explorer.

Her company is marked by vibrant internationalism: In a geographical sense, she has exhibited this in her own life, with extended periods spent abroad - in Amsterdam, New York and elsewhere. Like any great choreographer, Waltz celebrates the fact that her language - the language of dance - is blind to nation, colour and creed.

Sasha Waltz: NoBody

One woman paced around conducting a monologue with a photo of an ancestor. Her dancers knew what to do - were able to blow, can always blow, with the wind. Of this she has said: Her territory is the body, and the body in space.

Berlin has become her home, but having been out in the world, the world now comes to her. Tanztheater has a rich history in Germany but today the term can too often be loosely applied to anything that seems to flout the older choreographic order and embraces speech, gesture and general good fun. recommended cd collection, cd review and cd details.

In another sense, Waltz relishes testing even the conventions of her own idiom. A startlingly beautiful image, it came, when let loose in the courtyard of the Palais des Papes in Avignon inwith an extra edge of risk: The same humour is present in this Dido and while choreographing Schubert was in some ways groundwork for Purcell, choreographing opera is another broken boundary for Waltz.

Thus it was that in her most radical piece to date, insideout Graz and Berlin,she encouraged 19 of her performers to look into, and talk about, and express, themselves.