Pina Bausch’s “Kontakthof”..(dance, dance otherwise we are lost) 皮娜·鮑什 (《碧娜鮑許1940 – 2009. Pina Directed by Wim Wenders 2011》 舞蹈劇場的整個規模是前所未見的。).German Choreographer, Dies at 68/Revisiting Pina Bausch’s World of Love and Longing in Aging Bodies. An Ecstatic Return for Two Dances by Pina Bausch 。林懷民「1980之後」告別PINA 林美虹
Pina
tanzt, tanzt sonst sind wir verloren (dance, dance otherwise we are lost)
Revisiting Pina Bausch’s World of Love and Longing in Aging Bodies
“Kontakthof,” a pivotal Bausch dance from 1978, is being staged with members of the original cast. They talk about coming back to it nearly 50 years later.
The New Yorker Pina Bausch made what the Germans call Tanztheater—dance theatre—but she also made cinema and song.
Philippina "Pina" Bausch[1] (27 July 1940 – 30 June 2009) was a German performer of modern dance, choreographer, dance teacher and ballet director. With her unique style, a blend of movement, sound, and prominent stage sets, and with her elaborate collaboration with performers during the development of a piece (a style now known as Tanztheater), she became a leading influence in the field of modern dance from the 1970s on.[2] She created the companyTanztheater Wuppertal Pina Bausch (de) which performs internationally.
Pina Bausch (center) and Dominique Mercy (second from left) at the end of Wiesenland in 2009 in Paris.
Born 27 July 1940 Solingen, Germany Died 30 June 2009 (aged 68) Wuppertal, North Rhine Westphalia, Germany
Golden Lion Awarded to Pina Bausch for a Life's Work.
Venice Biennale, 2007.
The present compilation of excrepts of pieces by Tanztheater Wuppertal Pina Bausch was projected on big screen during the Ceremony of Award in July 2007.
Get the The Pina Bausch Sourcebook: The Making of Tanztheater 1st Edition here: https://amzn.to/3f5BurG
In 1972, Bausch started as artistic director of the Wuppertal Opera ballet, which was later renamed as the Tanztheater Wuppertal Pina Bausch (de), run as an independent company. The company has a large repertoire of original pieces, and regularly tours throughout the world from its home base of the Opernhaus Wuppertal.
Frühlingsopfer, premiered in 1975, pictured in 2009
Her best-known dance-theatre works include the melancholic Café Müller (1978), in which dancers stumble around the stage crashing into tables and chair. Bausch had most of the dancers perform this piece with their eyes closed. The thrilling Frühlingsopfer (The Rite of Spring) (1975) required the stage to be completely covered with soil.[8] She stated: "It is almost unimportant whether a work finds an understanding audience. One has to do it because one believes that it is the right thing to do. We are not only here to please, we cannot help challenging the spectator."
One of the themes in her work was relationships. She had a very specific process in which she went about creating emotions. "Improvisation and the memory of [the dancer's] own experiences ... she asks questions-about parents, childhood, feelings in specific situations, the use of objects, dislikes, injuries, aspirations. From the answers develop gestures, sentences, dialogues, little scenes". The dancer is free to choose any expressive mode, whether it is verbal or physical when answering these questions. It is with this freedom that the dancer feels secure in going deep within themselves. When talking about her process she stated, “There is no book. There is no set. There is no music. There is only life and us. It's absolutely frightening to do a work when you have nothing to hold on to”. She stated, “In the end, its composition. What you do with things. There's nothing there to start with. There are only answers: sentences, little scenes someone's shown you. It's all separate to start with. Then at a certain point I'll take something which I think is right and join it to something else. This with that, that with something else. One thing with various other things. And by the time I've found the next thing is right, then the little thing I had is already a lot bigger."
Male-female interaction is a theme found throughout her work, which has been an inspiration for—and reached a wider audience through—the movie Talk to Her, directed by Pedro Almodóvar. Her pieces are constructed of short units of dialogue and action, often of a surreal nature. Repetition is an important structuring device. She stated: “Repetition is not repetition,... The same action makes you feel something completely different by the end” Her large multi-media productions often involve elaborate sets and eclectic music. In Vollmond, half of the stage is taken up by a giant, rocky hill, and the score includes everything from Portuguese music to k.d. lang.[9]
In 1983, she played the role of La Principessa Lherimia in Federico Fellini's film And the Ship Sails On.[10] The Tanztheater Wuppertal Pina Bausch made its American debut in Los Angeles as the opening performance of the 1984 Olympic Arts Festival.
In 2009, Bausch started to collaborate with film director Wim Wenders on a 3D documentary, Pina. The film premiered at the Berlin Film Festival in 2011.
Pina Bausch’s “Kontakthof” is a potent mix of drama and movement. A new incarnation, “Kontakthof — Echoes of ’78,” incorporates the original production in part through archival recordings.Credit...Ksenia Kuleshova for The New York Times
“There was always the understanding that we were not going to compete with our younger selves who are there on the film,” said John Giffin, one of nine original dancers in the new cast.Credit...Ksenia Kuleshova for The New York
Pina Bausch, German Choreographer, Dies at 68
“She was Pina, loving and enjoying the company of all of us who had come to be at the premiere, celebrating with the dancers who had worked so hard,” he added.
Pina Bausch in Berlin in 2007.Credit...Barbara Sax/Agence France-Presse — Getty Images
Mr. Melillo described Ms. Bausch as having created a new dance form — tanztheater — by transforming a pure formal dance background through “her own passions and technique and discipline.”
“The whole scale of Pina Bausch’s tanztheater no one had ever seen before,” he added.
Ms. Bausch established a method of creating dances that was widely copied. She would begin rehearsals by asking specific questions of the dancers: about memories, about their daily lives. She would ask them to act out the recollections, and create minidramas from their responses. The dance would grow out of that work, as well as a sense of place derived from foreign residencies.
入場時就看到舞台鋪滿草皮，舞台深處一隻標本鹿歪頭斜看觀眾，前排觀眾可以聞到青草味。舞者輪番上台，講話，嬉鬧，玩遊戲，惡作劇，把舞台變成兒童遊樂園，隨著茱蒂．嘉倫的〈Over the Rainbow〉列隊前進，整齊重複一套手部動作。不知不覺間，全體舞者齊聚右下舞台，面對一位背台的長髮女子，輪流說出避重就輕的客套話：「妳自己要保重」，「身體要緊」，說完走人。這告別的場面漫長而尷尬。最後留下來的女舞者直立無語，突然上前緊緊抱住長髮女子。嬉笑追逐的遊戲重新啟動，蓋過那沉重的擁抱。
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天鵝之歌中的一幕
「1980之後」告別PINA
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