Dance Drama – a Complete Performance
Dance Drama – a Complete Performance

Summary/Abstract: The dance drama is frequently considered “a two-headed monster”, an anomaly therefore unde-sirable. And if it is meant to continue to exist, then it should remain exiled in the “experimental” laboratories. Why is the “marriage” of these two arts so similar to incest for many people? Both of them generate visual imagery, both use acting and/or pantomime, both are based on the human body in action, both have a similar relation with music… The type of performance invented by Pina Bausch and her dancers is an act of subversion of dra-ma by means of dance. The drama critics do not deceive themselves when they say these shows more and more evidently that the motion and the human body are not means of expression among others, but they are at the origin of all the other modalities of artistic expression in the art of per-formance. The dance drama creates a real fascination over the theater people: the speaking dancer is the ex-pression of a violent and visceral desire to express. His gesture produces a more powerful impact than the organized speech of the dramatic text. This is the advantage of the dance drama: by giving voice to the body, it becomes the sound box of the events, of the sensitive sites where fears, afflictions and hopes of the contemporaneous man painfully intersect.

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