This book analyses the
Tanztheater Wuppertal in the light of Edward Said’s theory of Orientalism. Deirdre Mulrooney does this by examining how Pina Bausch and her company negotiate foreign cities in
Viktor, Palermo Palermo, Tanzabend 2, 1991, and
Ein Trauerspiel. Mulrooney makes these four scriptless productions available for academic investigation by transcribing them and taking them as a paradigm for Bausch’s entire oeuvre. She thus illustrates how Pina Bausch has developed a transformative theatrical language which cultivates a new way of looking at the world.