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Pina Bausch was one of the world’s most radical and influential dance-makers. So it seems entirely fitting that the film made in tribute to her by director Wim Wenders should be the first to suggest the real artistic possibilities of 3D.

Pina is both moving and miraculous in all kinds of ways. To begin with, it is an extraordinary record of the work that Bausch made since first setting up her company in Wuppertal in 1973. Pieces such as The Rite of Spring and Café Müller are filmed with a passion and vitality that make them almost as vivid and powerful as they are on stage. By placing his cameras in the middle of the action, Wenders makes them participants as well as recorders.

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This will undoubtedly be remembered as the year 3D entertainment really spread its wings. 3D movies made the shift from being novel to commonplace, 3D TV sets hit the market and for the first time an AFL grand final was telecast in 3D (the rematch didn’t, as the borrowed equipment was sent to Sydney for the NRL grand final).

Now, in a world first, dance has gone 3D. The Melbourne Ballet Company has joined forces with Deakin University to transform the age-old pastime of “going to the ballet” into a 21st century experience. While four dancers pirouette and plie on centre stage, the audience – wearing 3D glasses – will have cubes of light and other fluid shapes whiz past them, emanating from a screen on stage.

The 3D technology is the result of painstaking work from Deakin Motion.Lab, whose staff were au fait with the 3D technology (created by software company Autodesk), but never in this capacity.

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