The clips as you load the DVD show women in extremis - women tied to the end of a rope, women being assaulted by mass male groping, women dancing on pointe with bleeding chunks of meat stuffed into their ballet shoes. Pina Bausch’s commentaries on women make her ballets disquieting viewing. Wim Wenders’ film, released as a 3D version in cinemas earlier this year, takes you into those deep, confused questions that Bausch’s dance works put.

As artificial spaces, clubs struggle to embrace the organic environment. The music and arts collective Noise of Art are bridging the gap by working with the charity Trees for Cities, with DJs donating their time to raise funds for planting trees in London. On 17 September, Noise of Art is working with Trees for Cities at Battersea Park and taking over the Village Underground for a fundraising event.

Only three years ago, Hofesh Shechter, the Israeli-born, London-based choreographer, made the leap into the big leagues, almost overnight, with his Uprising/In Your Rooms double bill. The following year he produced a "Choreographer’s Cut", a bulked-up version in the Roundhouse, part dance, part gig. 2010’s Political Mother was received with rapture, so what next?

It’s not often that a venue’s stage door is easier to find than its main entrance, but The Old Vic Tunnels is one such location. For those behind Coming Up Later, however, this is all part of the fun of a three-evening underground festival featuring a rather wonderfully haphazard range of performances. The event is the product of The Old Vic’s outreach programme, Old Vic New Voices, and the funding and artistic crowd-sourcing network IdeasTap.com. Such collaboration resulted in an opportunity few emergent creative directors could ignore: a production team, a budget to play with and three expansive tunnels for those who could imagine how best to use them.

Yesterday was a day when male physicality and the science of movement preoccupied - when you watch Rafa Nadal or Jo-Wilfried Tsonga, you can’t help thinking about the contrasts of grace that achieve the same athletic needs; Nadal the pouncing cheetah, the rich, weighty speed of Tsonga. Thing is, when you watch programmes about the greatness of tennis, they don’t try to persuade you that it’s just as good to watch if you yourself learn to play and get it filmed for the public's delight.

Last March’s Japanese earthquakes and tsunami, as we know, brought devastation to hundreds of thousands of Japanese. But it also caused a crisis in the 3D film industry, just as it is attempting to be born. The most important 3D tape stock finishing factory in the world was swept away by the waters.

When asked if I wanted to go and see two dozen naked Canadians doing audience participation, the answer was, self-evidently, nonononononononono. And then, for good measure, NO. Well, I’m here to tell you, I was wrong. Wrong, wrong, wrong. And I apologise to Dave St-Pierre and Company for my foolish prejudices. Un Peu de Tendresse Bordel de Merde ("A little tenderness, for Pete's sake") is an amazing evening of theatre.

Being a choreographer is harder than it looks. Steps, movement, are just the beginning. On top of that you need to have a sense of theatricality, and then, even more, you need to be able to convey your ideas, through movement alone, to the audience. On these counts, Bern:Ballett’s visit to the Linbury fails to make the grade.

Paul Taylor's Roses is called Roses because, well, because it is. There are no roses here, no flowery sentiment, no overwrought angst and emotion. This, one of Taylor’s most beautifully serene works, is the smell of roses on a still May evening: fleeting, evanescent and heart-breakingly beautiful. It is also some of the most magisterial - and startlingly original - choreography, even a quarter of a century after it was first made.