Pina Bausch
A brief overview of her time as a world renowned choreographer upon her death. The report also gives a glimpse into her choreographic process, her influences, inspirations, difficulty in finding satisfaction, and her curiosity. She created works until weeks before her death and pushed herself to stay inspired by her surroundings. This clips gives insight into the allure that surrounds Pina.
Pina was born in Solingen, Germany, 1940. At fourteen years old, she began her dance training under Kurt Jooss (who trained under Laban) where she earned her extremely virtuosic technique. In 1959, she traveled to New York to train under Jose Limon, Paul Taylor, and Anthony Tudor. She returned to Germany in 1962 as a soloist for Jooss; eleven years later, she became the director of his company, Tanztheater Wuppertal, where she began creating works for more than thirty years (Johnson, 1999).
As she became the director of Tanztheater Wupppertal, she and the company were met with controversy surrounding their work. This controversy, however, brought her and the company to the international spotlight. Her works, " a mixture of dance and theatre, was wholly unfamiliar. In her performances the players did not merely dance; they spoke, sang - and sometimes they cried or laughed too" (Tanztheater Wuppertal). She was the driving force of this form, the "Queen of Dance Theatre": an art form now practiced by many dance artists (from Stuart Pimsler Dance and Theater to Daniel Nagrin, Shane O'Hara, and Ric Rose). In fact, "Tanztheater"
is a German word which translates to "dance theater". It, as a dance form, is an expressionist dance style that "focuses on the human experience and the ability to connect to the innermost emotions" (ZImmerman, 2012). Pina focuses her works around human needs: the needs for love, companionship, intimacy, security (Tanztheater Wuppertal). These basic human needs fueled her and made her works timeless.
In 2009, Pina passed away in Wuppertal, Germany. Her successor, the current artistic director of Tanztheater Wuppertal, is Lutz Förster. He was one of Pina's orginal dancers and has worked with her for the thirty-four years she choreographed for Tanztheater (Tanztheater Wappertal). He is featured often in Pina, a documentary about the choreographer.
To honor her memory, the central piece of "NOWHERE" (below) was conceptualized and directed by Dimitris Papaioannou. The full endeavor was a method of exploring the theatre itself, and how the stage can represent anywhere and nowhere all at once. This was created to note the transformation of a space when human presence interjects itself. "NOWHERE", including this piece for Pina, was released in 2009.
As she became the director of Tanztheater Wupppertal, she and the company were met with controversy surrounding their work. This controversy, however, brought her and the company to the international spotlight. Her works, " a mixture of dance and theatre, was wholly unfamiliar. In her performances the players did not merely dance; they spoke, sang - and sometimes they cried or laughed too" (Tanztheater Wuppertal). She was the driving force of this form, the "Queen of Dance Theatre": an art form now practiced by many dance artists (from Stuart Pimsler Dance and Theater to Daniel Nagrin, Shane O'Hara, and Ric Rose). In fact, "Tanztheater"
is a German word which translates to "dance theater". It, as a dance form, is an expressionist dance style that "focuses on the human experience and the ability to connect to the innermost emotions" (ZImmerman, 2012). Pina focuses her works around human needs: the needs for love, companionship, intimacy, security (Tanztheater Wuppertal). These basic human needs fueled her and made her works timeless.
In 2009, Pina passed away in Wuppertal, Germany. Her successor, the current artistic director of Tanztheater Wuppertal, is Lutz Förster. He was one of Pina's orginal dancers and has worked with her for the thirty-four years she choreographed for Tanztheater (Tanztheater Wappertal). He is featured often in Pina, a documentary about the choreographer.
To honor her memory, the central piece of "NOWHERE" (below) was conceptualized and directed by Dimitris Papaioannou. The full endeavor was a method of exploring the theatre itself, and how the stage can represent anywhere and nowhere all at once. This was created to note the transformation of a space when human presence interjects itself. "NOWHERE", including this piece for Pina, was released in 2009.
Pina, the film
In 1985, a filmmaker named Wim Wenders was drug out by his girlfriend to attend a performance by Bausch's company. It was performance of Café Muller. Wenders, not a fan of modern dance, cried within minutes. He claims that " 'Pina Bausch showed me in 40 minutes more about men and women than the entire history of cinema.' " Immediately following the performance, they began to collaborate on a film which would consist only of the dancers -- it would not be a biography or interview of Pina, the film must only focus on the dances.
After twenty years of planning and new technologies which would bring the choreography to life as a 3D film, Wenders was prepared to begin filming in June of 2009. However, days before filming was to begin, Pina died. Wenders canceled the film, but the dancers wished to film on. They wished to preserve Pina's dances, as they were still fresh in her image. The film transformed from being about her to beng "for Pina."
As promised, Wenders created the film strictly on the dances. He added, however, the dancers' own words on Pina. In individual interviews, dancers sat contemplatively and silently in front of a camera, as their thoughts on Pina were voiced over. Their descriptions of her process were delightfully vague and mysterious, as the illustrious Pina should always be remembered. Wenders and the dancers describe her in awe. The information about Wenders and the process for the film comes from an interview with NPR conducted in 2012. Below is the audio of the interview, as well as some extras and the trailer for Pina.
(Dowell)
After twenty years of planning and new technologies which would bring the choreography to life as a 3D film, Wenders was prepared to begin filming in June of 2009. However, days before filming was to begin, Pina died. Wenders canceled the film, but the dancers wished to film on. They wished to preserve Pina's dances, as they were still fresh in her image. The film transformed from being about her to beng "for Pina."
As promised, Wenders created the film strictly on the dances. He added, however, the dancers' own words on Pina. In individual interviews, dancers sat contemplatively and silently in front of a camera, as their thoughts on Pina were voiced over. Their descriptions of her process were delightfully vague and mysterious, as the illustrious Pina should always be remembered. Wenders and the dancers describe her in awe. The information about Wenders and the process for the film comes from an interview with NPR conducted in 2012. Below is the audio of the interview, as well as some extras and the trailer for Pina.
(Dowell)
Wim Wenders on Pina, with NPR
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