Pina Bausch posed questions during rehearsals. Typically she raised more than one hundred per each new piece in a life's work encompassing approximately 50 choreographies. She posed her questions in German or in English. The dancers sought answers with their bodies, with their voice, with materials and props. They wrote down the questions in their own rehearsal notes, sometimes in their "native tongue", in Spanish, French, Italian, Japanese, or Korean, along with the things that occurred and had occurred to them in reply. The rehearsals were recorded on video. The video and the notes served as a reminder and an aid during rehearsals for when Pina Bausch decided and told the dancers which parts of that they had created she wished to see again. During the international co-productions, 15 in total created by the Tanztheater Wuppertal, ranging from Viktor in 1986 to the final piece " ... coma el musguito en la piedra, ay si, si, si ... " (" ... like moss on a stone ... ") in 2009, the company realised something for which there was neither an expression nor a discourse at that time-and which is now disputed, ideologically charged and politically contested: Artistic Research. The company in 2013 consisted of 32 dancers, (J 8 women and J 4 men), from l 8 different nations, and is thus itself also a microcosm of different cultures. They travelled to the co-producing cities and countries, to Rome,
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