The unmistakable style of Tanztheater Wuppertal Pina Bausch was forged over decades performing Pina Bausch’s huge catalogue of extraordinary work. Following the choreographer’s death in 2009, the company are now ready to embark on the expansion of this hallowed repertoire.

In an exchange of firsts, Since She marks the creation of the Tanztheater Wuppertal Pina Bausch’s first full-length work by a guest choreographer, while also being the first work that Greek choreographer Dimitris Papaioannou has created outside of his own company.

Trained as a visual artist, the author of over 40 comic books, and the creative director of the 2004 Olympic Opening Ceremony in Athens, Papaionannou’s work is renowned for its dream-like atmosphere, inhabited by a circus of contorted and absurd creatures.

　On 24 November 2006, Papaioannou premièred 2 in Athens, his first work following his creative direction of the Opening and Closing Ceremonies of the Athens 2004 Olympic Games. 2 was produced in collaboration with the electronic music composer K.BHTA for the production company Elliniki Theamaton. A "dissection of the male psyche",[13] the production commanded a large of amount of Greek press attention, not least for its open references to homosexuality.[14] 2 proved a commercial success; its run was extended twice and over 100,000 tickets were sold in total.
　　The work seems to draw upon a range of influences, including the work of Jean Genet, René Magritte and Robert Wilson. Inspiration for the show also came partly from Papaioannou's experiences as a gay man in Greece.[15] Contemporary magazine described 2 as an "inspiring" work that "captures the zeitgeist".[16]
　　A DVD of 2, produced and directed for the screen by Athina Rachel Tsangari of HAOS FILM, was released on 11 December 2007 by Elliniki Theamaton and Modern Times.
　　From

　　(2002) His play, "2," was performed at the Eclipse Theatre Company in Chicago, Illinois with Steven Fedoruk in the cast. Nathaniel Swift was director.
　　from

Primal Matter, the entire work in seventeen minutes, is a condensed cinematic summary of Dimitris Papaioannou’s original production, Primal Matter, presented in 2013 at the Athens Festival. Originally spanning one hour and fifteen minutes, this live performance featured Dimitris Papaioannou and Michalis Theophanous and was filmed by Stefanos Sitaras and edited by Dimitris Papaioannou. Primal Matter is Dimitris Papaioannou’s personal response to a new political, social, and ethical reality, where issues of national identity are re-interpreted. The challenge that lies ahead is how to face a wounded national identity, the trauma continues, but so does the resistance of creativity. Papaioannou employs the simplest means, the body itself. Primal Matter offers a universal language of decoding, and a shortcut to the truth – the fusion of the two bodies through optical illusions is a fusion of attitudes, of identities and a struggle between the matter and the mind, the shadow and the light, the creator and its creation. (源自: TIDF 2024)

History is often made of floors and ceilings, and in The Great Tamer, Dimitris Papaioannou doesn't hesitate to challenge his eleven performers to find their balance and projection points on an inflated stage constantly going through a process of deconstruction, swelling up, absorption, and even rejection. Starting from this metaphor of man in a position of research, the show becomes a sensorial and primitive epic. “The point is to dig and bury, then reveal. We're talking about identity, about the past, about legacy and interiority.” Revealing the small tragedies and great absurdities of our modern lives, bringing together well-known and ambiguous figures from the world of the circus—the clown, the acrobat—the work of the Greek choreographer is at once melancholic and funny, and plays on theatrical conventions with the audience, in all simplicity. Between levity and tragedy, within a plastic world that pays homage to some of the greatest European painters—Botticelli, Raphael, El Greco, Rembrandt, Magritte, Kounellis—Dimitris Papaioannou sets the bar high and asks all of us to “exhaust our lives” and to give everything we can before leaving this world. This quest for grace and beauty is neither relaxing nor contemplative.

一个人回家，一个人拉撒吃喝睡。