RESTAGING a Pina Bausch work is no simple process. On top of the months of rehearsal, countless hours of organisation and administration must take place behind-the-scenes to bring her choreography to life on stage. But throw in a transnational, multi-institution collaboration, as well as a global pandemic, and the task becomes near impossible. Yet, despite everything, Pina Bausch’s irreverent das Frühlingsopfer (The Rite of Spring, 1975), will be making its way to Australia next year for the Adelaide Festival, with one of Pina’s original dancers at the helm.
Australian Josephine-Ann Endicott, known to Pina as “Jo”, is an original member of Bausch’s celebrated Tanztheater Wuppertal, renamed from the Wuppertal Ballet when Bausch was