Stephanie Troyak teaching Pina Bausch repertory in a masterclass with USC Kaufman BFA students | Photo by Matt de la Peña

By Rhaine Marquardt (BFA ’26)

Marquardt recounts her experience working with Stephanie Troyak on Pina Bausch repertory over the course of an unforgettable week. Deeply impacted by her time with Troyak, Marquardt shares her favorite moments, expresses gratitude and provides insight into what it is like to be immersed in the beautifully complex world of Pina Bausch.

It began with expression. Expression evolved into story, and story evolved into movement. This evolution facilitated an invigorating marriage between theatre and dance that inspired raw, artistic vulnerability. In the sharing of Pina Bausch rep, Stephanie Troyak, former company member with Tanztheater Wuppertal Pina Bausch, brought to life the physical, intellectual, and emotional complexities of the human experience. She then challenged us to exemplify this metaphorically through the body. 

The Process

Troyak began the first workshop day with the teaching of an excerpt from Bausch’s The Rite of Spring. The structural composition of this iconic piece of repertory called for a sense of dynamic, controlled athleticism, coupled with bodily awareness and attention to detail. When teaching Rite of Spring, Troyak emphasized the importance of finding a balance between a nuanced clarity of the body and a sense of freedom. With her professional guidance, we were able to achieve this. As a cohort we embodied Bausch’s movement motifs while honoring the theatrical integrity of her work. I had already fallen in love with the intellectual and physical rigor of Rite of Spring by the end of this first rehearsal. 

Over the course of the two remaining workshop days, Troyak dove into repertory from Bausch’s Viktor, Nelken and Arien. From gestural phrases, to partner work, we had learned various excerpts that transported us to a new realm of theatrical and artistic imagination. 

Breaking Boundaries

When rehearsing Arien, Troyak introduced us to Bausch’s striking use of speech. While select dancers performed a phrase of full-bodied gestures, other dancers added a layer of verbal disarray to the scene. Yelling, chasing and attempting to grab the attention of those executing the phrase – this repertory was pivotal for me. In a piece where verbal abandonment and artistic impulse commanded the space, I felt as if I had been met by my greatest fears and fantasies. Leaving a deep and lasting impression, Troyak unlocked within me a new understanding of the relationship between dance and speech.

Performing Pina Bausch

On our last rehearsal day together, Troyak pieced together each excerpt we had been exploring into a short evening demonstration. Our process with Troyak then culminated with an informal showing, in which we had the opportunity to present our demonstration of four excerpts to USC Kaufman students and faculty. This showing was the perfect way to close out an incredibly gratifying week, a beautiful celebration of three transformative days. 

It is no secret that Troyak has left a lasting impact on our cohort, in more ways than one. From the way she so brilliantly embodies the nuances of Bausch’s imagination, to her kind heart and passionate soul, she has managed to expand my notion of dance theatre and push me beyond the comforts of my artistic familiarity. All in three short, but invigorating days. Having learned and performed excerpts from four of Pina Bausch’s most iconic works, this week was one to be cherished.