Lucy Weir is Chancellor's Fellow in History of Art at Edinburgh College of Art, the University of Edinburgh. She is a specialist in modern dance and performance. Her research interests span the fields of live art, theatre and dance, and queer culture and gender studies. She received her PhD from the University of Glasgow in 2013 and has held several teaching and research fellowships. She previously taught at the University of Glasgow, Glasgow School of Art and the Royal Conservatoire of Scotland.

• List of illustrationsList of choreographiesAcknowledgementsIntroduction1 A Bilingual DancerDefining Dance TheatreLearning a New Language: Bausch in the USAHomecomingTransnational Modernism: Orpheus und Eurydike‘It’s not a metaphor. It is what it is’: Le Sacre du printemps 2 New Beginnings: The Origins of Bausch’s TanztheaterEarly Controversies: The Brecht/Weill EveningWorking from the Inside OutThe Haunted Self: BlaubartA Theatre of Fragments: The Macbeth Project3 Unmasked, Unfinished, Unresolved: A Dance Theatre of the Absurd‘An Archaeology of the Everyday’Returning the Gaze: Kontakthof‘And then, Pina said…’: Walzer4 Violent Acts: Traversing the Postwar LandscapePerforming Authoritarianism: NelkenAddressing the Past: Auf dem Gebirge hat man ein Geschrei gehörtEngendering Trouble: Two Cigarettes in the Dark5 Transient Tanztheater: The Co-Production ModelExcavating the Eternal City: ViktorCircumventing Orientalism? The Co-Production ModelFinding a Universal Language: Masurca Fogo‘Dance is the only true language’: Água6 ‘I only tried to speak about us’Ein Stück von Pina Bausch? Passing on the WorkAgeing GracefullyTurning Back to Dance: VollmondOn Not Forgetting: ‘Sweet Mambo’BibliographyIndex

Eloquent and probing, Lucy Weir's astonishing book on the late German choreographer Pina Bausch and her Wuppertaler company is a milestone for a fresh and invigorating Anglo-American reception of tanztheater, rediscovering Bausch's early residency in New York, her processing of parallel modern legacies of ballet and dance and her radical shaping of these idioms into a new theatrical language and rehearsal method. Weir's explorations are wide-ranging and brilliant in their insights and interpretive rigor, leading us through decades of work to the late transcultural ‘World Cities' productions, and the challenging promise of how to continue the dance after Bausch.