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Zenaida Yanowsky –

The Royal Ballet: “Marguerite
and Armand”, c. Frederick
Ashton (ph. T. Kenton)

ers from the Tanztheater Wuppertal (the com-
pany of which she was the founder and
leader). In order to find ideas and inspiration
for the piece’s creation the group had visited
every nook and cranny of the multi-faceted
and chaotic Italian capital, avoiding all the
obvious touristy places. The unforgettable
choreographer, who passed away in 2009, was
aided above all by the young Matteo Garrone,
and she and her dancers set out on a search
to find the “other Rome”, the one located far
from the “obvious” monumental Rome: the
ethnic, suburban, nocturnal, gypsy “Rome”.
The “Rome” immortalised by film director
Pasolini. The Mandrione district, Piazza
Vittorio, squatter communities, African dis-
cos, open-air dance halls, gypsy encampments.
The secret, authentic, mysterious and contra-
dictory Rome, teeming with conflict and in-
vaded by multicoloured immigrants.
Graziani’s film-documentary reconstructs
the project with images from that period and
a series of interviews with those who worked
on it: apart from Matteo Garrone, who went
on to become a celebrated and award-winning
film director, also director Mario Martone,
Tanztheater Wuppertal dancer Cristiana
Morganti and transgender celebrity Vladimir
Luxuria who took Pina Bausch to Rome’s
den to take the role of Armand beside Zenaida 1990s. He was succeeded as director by Mario most popular transgender clubs. The inter-
Yanowsky (Marguerite and Armand). Martone who also inherited the project. The views also include one with the undersigned
❏ show was premièred in Italy at the Teatro as I have followed the German choreographer’s
Argentina in the context of celebrations for work since its early days and had the pleas-
Bausch in the Eternal the Great Jubilee in 2000; it was devised and ure (and honour) of accompanying Pina Bausch,
City composed by Pina Bausch on the basis of a
site reconnaissance which had lasted several
as an adviser and personal friend, during all
her Italian forays.
Pina Bausch had an intense and very spe- weeks and was carried out together with danc- Leonetta Bentivoglio
cial love affair with Italy and in particular with
Rome, a city to which the leader of late 19th-
century Tanztheater dedicated to two creations Pina Bausch, with an associate, in St Peter’s Square during a visit to Rome
produced “on site”: Viktor (1986) and O Dido
(2000). These two works can be considered
as the clear fruits of a relationship that was
particularly rich in emotional suggestions with
the city where, among other things, Pina Bausch
met Federico Fellini who gave her an impor-
tant acting role in his film E la nave va (“And
the Ship Sails On”), entirely shot in Rome.
On the origin and assemblage of the sec-
ond of Bausch’s two “Roman” pieces a “post-
humous” documentary, Pina Bausch a Roma,
was recently made and screened at the Teatro
Argentina in Rome on the evening of April
10th. It is to be screened all over the world
at theatres and cinema festivals. The film’s
director is Graziano Graziani while both the
director of Riccione Teatro, Simone Bruscia,
and impresario Andres Neumann (who at the
time co-produced O Dido with Teatro di
Roma) were instrumental in its making.
O Dido was set in motion by an invitation
extended to Bausch by Luca Ronconi who
was at the helm of Teatro di Roma in the late