In the course of the years, modern dance has exerted its influence to the point of becoming a kind of new classicism. And it is already being contested by some new and still more revolutionary artists. That’s what Pina Bausch does. She finds inspiration in the German Expressionist school, and bases her creative work on a psychoanalytical approach. Pina Bausch does not impose any initial themes on her ballets, which are also—in part—plays. She structures them to reflect each dancer’s own contributions, integrating their feelings and desires in the light of their social and emotional experiences. This free choreographic creativity is matched by free television creation. The programs avoids interviews. It grasps, furtively, the personalities of the dancers on stage and in the wings. It creates a familiar climate in which one sifts vack and forth, without realizing it, between the world of entertainment or art and the artists’ daily lives. This program represents an attempt at osmosis between the dance and television.