When Pina Bausch premiered her 1975 version of Stravinsky’s controversial ‘The Rite of Spring’ in Germany, audiences were so angry they rang her at home to complain. Fifty years later, her version is celebrated as a major triumph. As a highly acclaimed pan-African collaborative production comes to the end of a global tour, Kathryn Bromwich talks to those involved, and finds out why the piece demands so much from its dancers I n a rehearsal studio lined by floor-to-ceiling mirrors in the Théâtre