A new Sleeping Beauty from the iconoclastic dance showman Matthew Bourne headlines Sadler's Wells Theatre's new season. Climaxing a year of celebrating Bourne's engaging talent - his Play Without Words plays the Wells' summer, following a tour of early career highlights - this production offers a grown-up alternative to the record-breaking Christmas show The Snowman at the Peacock Theatre once again for the 15th year.

Istanbul, even more than Rome, is the point in the world where tectonic plates of civilisations collide: Europe, Arabia and Asia, Muslim Istanbul and Christian Constantinople, fundamentalists and secularists, 21st-century women and 15th-century men. The smells of hookahs, roses and fish are part of the magic the city has from time immemorial radiated, beckoning traders and dealers, visitors and adventurers, to a place of shifting histories and irresistible mystery.

It may be that designer Peter Pabst is the unsung hero of Tanztheater Wuppertal’s “World Cities” extravaganza. When the lights go down at Sadler’s Wells for Der Fensterputzer (The Window-washer), the stage is dominated by a vast mountain of glowing red flowers, over four metres high, nine metres across, looming out of a modernistic black-box stage. It is a moment of pure, surging drama.

If you are tired of life, tired of London, or even tired of love, muster the remaining fibres of your frazzled being and do whatever it takes to get tickets for ...como el musguito en la piedra, ay si, si, si... or any of the other performances in the Pina Bausch "World Cities" retrospective on at Sadler’s Wells and the Barbican over the next four weeks.

It stymies any tourist to sum up for others what they saw abroad. Still more challenging, to create (or recreate) for theatre as a choreographer something more than superficial, more than clichéd about Italy, Japan, Los Angeles, Istanbul, these most clichéd of cultures. The opening of the monumental, enticing series of 10 of the late Pina Bausch’s “World Cities” season in London - a posthumous celebration of her talent - launched last night with the first of her views, Viktor, a production about Rome, postcards of Rome sent in Eighties Italy by a German choreographer.

Matthew Bourne’s charm is a rare and cheering thing in the world of dance - a night out with three of his earliest works, Spitfire, Town & Country and The Infernal Galop, is akin to sitting down to watch Father Ted or Dad’s Army. It’s clever, often witty, always gay, and kind.

The past is a hard card to play for a contemporary dance company, even harder than for a ballet company. A work that’s proved over time, whose quality emerges and re-emerges with revisiting, casts an imposing shadow over new works created in the ethos and fashions of the contemporary.

A new publicly funded UK web channel for performing arts opens tomorrow morning, preparing for a major launch this weekend streaming top international streetdancers to the web audience and publishing John Peel's notes on his record collection. The channel, called The Space, is funded by the Arts Council England in partnership with the BBC, and will run for six months over and through the Olympics period as an on-demand channel to put performance out via smartphones, tablets and computers.

Tennessee Williams’s A Streetcar Named Desire carries with it an enormous loading from its past, the associations with those iconic performers on stage and screen Marlon Brando and Vivien Leigh not the least of them. For a narrative dance, that hothouse close-up combat between the hapless Blanche Dubois and Stanley Kowalski, her sister’s boorish husband, needed a fresh revising and some bravely independent performing. Much kudos to Scottish Ballet for creating and pulling off a genuinely involving new dance-drama which looks as stylish as it feels emotionally substantiated.

William Forsythe's position as the most articulate, fascinating, provocative ballet choreographer of the past 25 years is demonstrated by the Royal Ballet of Flanders' brief visit to Sadler's Wells for three nights with his epic, maddening, engrossing creation, Artifact. The cutting edge of theatre and ballet at its premiere in 1984, it is a four-act ballet, no less, that pays homage to the early court spectacles out of which ballet was born, and the superb physical elegance into which classical ballet then evolved.