Critics described Pina Bausch's work as “absolutely contemporary” and as being “important dance heritage,” which is precisely the opposite of contemporary, namely, historical. This contradictoriness—though productive in its own right—is symptomatic of the perspective of dance journalism brought to bear on Pina Bausch's later works in particular. But even reviews of her earlier works are a far cry from perceiving the artist in a consistent manner, some even going so far as to criticize her for being “outdated.” Apparently, Bausch's art continuously poses a challenge for dance critics because it defies easy categorization in aesthetic terms, thereby undermining the implicit postulates and classificatory criteria underlying dance reviews. There is—at least in the German-speaking area—broad consensus regarding the functions of today's dance reviews as a text genre: as a translation of dance into language, dance reviews describe, analyze, and judge. With a focus on reviews of pieces by Pina Bausch, this essay proposes to investigate how dance is translated (“trans-posed”) by considering the questions: what do reviews do when they put things into words? How are their own seemingly firm categorizations and postulates thereby destabilized or at least opened to debate?

中文翻译：

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如何用文字重新看待事物？作为翻译的舞蹈批评——皮娜·鲍什

评论家将皮娜·鲍什的作品描述为“绝对当代”和“重要的舞蹈遗产”，这与当代，即历史性正好相反。这种矛盾性——尽管其本身是富有成效的——是舞蹈新闻视角的症状，尤其是对皮娜·鲍什后期作品的影响。但即使是对她早期作品的评论，也与以一致的方式感知这位艺术家相去甚远，有些人甚至批评她“过时”。显然，Bausch 的艺术不断对舞蹈评论家提出挑战，因为它在美学术语中挑战了简单的分类，从而破坏了舞蹈评论背后的隐含假设和分类标准。至少在德语区，人们对今天的功能有着广泛的共识。s 舞蹈评论作为一种文本体裁：作为将舞蹈翻译成语言的一种，舞蹈评论描述、分析和判断。本文重点关注 Pina Bausch 的作品评论，建议通过考虑以下问题来研究舞蹈是如何翻译（“转置”）的：当评论将事物转化为文字时会做什么？他们自己看似坚定的分类和假设如何因此变得不稳定或至少引发辩论？当他们把事情变成文字时，评论会做什么？他们自己看似坚定的分类和假设如何因此变得不稳定或至少引发辩论？当他们把事情变成文字时，评论会做什么？他们自己看似坚定的分类和假设如何因此变得不稳定或至少引发辩论？