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Last year Sadler Wells staged a five week season by Tanztheater Wuppertal, in which the works of its founder choreographer Pina Bausch emerged as vividly operatic - filling the stage with great hoardes of dancers and huge waves of emotion. The passion is still there in Two Cigarettes in the Dark, created in 1985 for 10 dancers and an actress. But this early work feels like a chamber piece, slyly reflective rather than loudly declamatory. The mood is set, as always Cheap Cigarettes For Sale Online, by Peter Pabst design: a white room, with four doors, two sets of stairs, and three huge vitrine windows behind which we see a jungle, a desert and an aquarium. Nothing is quite as it should be. The doors are different sizes. The stairs lead to other stairs. The windows are too big for the room and the vistas behind them are unreal. The result is to throw you slightly off balance: when, in an early scene, Helena Pikon sweeps her arms above her head in a gesture that seems to scour the air, she dwarfs Dominique Mercy standing quietly at the back. The physical imbalance is echoed in the disconcerting dynamic of their relationship. When they collide ferociously, she cries; he hits her over the head with a book Buy Discount Cigarettes. The joys and pains of human relationships are the fabric of Bausch work, whether it is the couple who alternate panting with long, breathless kisses, or the man making a woman clean the floor. But there is a danger in believing that is all she was interested in Newport Cigarettes For Sale. She springs from a long surrealist tradition and the images that fill Two Cigarettes in the Dark (its title taken from the concluding song, rather than the amount of cigarettes smoked, which is 15) are worthy of Magritte or Man Ray: a man standing drinking tea on a log, a line of girls in long dresses turning effortless handstands against a wall; a man standing on a plank Cigarettes Online Store, perilously surveying the scene. There are other echoes. When her cast perform to Ravel La Valse, rocking on their bottoms, you feel Bausch is making a little nod to Diaghilev and his belief that this music was impossible to dance to. Her work also asks you to look differently, to let go of the conscious search for meaning. When Mercy slowly walks across the stage in flippers after wading in the fish tank, to the sad strains of late Beethoven, it is both funny, nonsensical and ineffably moving. Its meaning is elusive, but it lodges in the mind. Two Cigarettes may be long, but it is bound together with little vignettes of angels, with scenes where people propel themselves in unlikely ways, with a balance of elements, of words and movement. Since Bausch death in 2009, her company has assiduously revived works from different periods Newports Cigarettes Price. In doing so they are giving us a lesson in just why she was so signfiicant. It is a pleasure to watch.
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