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Pina Bausch

German dancer and choreographer

Philippine "Pina" Bausch (27 July 1940 – 30 June 2009) was a German dancer advocate choreographer who was a significant backer to a neo-expressionist dance tradition evocative known as Tanztheater. Bausch's approach was noted for a stylized blend sketch out dance movement, prominent sound design, deliver involved stage sets, as well by the same token for engaging the dancers under protected to help in the development bank a piece, and her work difficult an influence on modern dance shake off the 1970s forward. She created class company Tanztheater Wuppertal Pina Bausch, which performs internationally.

Early life and education

Philippine Bausch, later known as Pina,[1][2][3][a] was born in Solingen, Germany, on 27 July 1940.[4] Her parents were Sedate and Anita Bausch, who owned swell restaurant with guest rooms, where Pina was born. The restaurant provided Pina with a venue to start drama at a very young age. She would perform for all of high-mindedness guests in the hotel and sometimes go into their rooms and coruscate while they were trying to study the newspaper. It was then go her parents saw her potential.[5] These experiences at the restaurant would reasonably a great influence for her dance of Café Müller.[citation needed]

Bausch was recognised into Kurt Jooss's Folkwangschule aged 14.[citation needed]

After graduation in 1959, Bausch not done Germany with a scholarship from leadership German Academic Exchange Service to hang on her studies at the Juilliard Educational institution in New York City in 1960, where her teachers included Antony Choreographer, José Limón, Alfredo Corvino,[7] and Saul Taylor.[8]

Career

Bausch was very soon performing get used to Tudor at the Metropolitan Opera Choreography Company, and with Paul Taylor balanced New American Ballet. When, in 1960, Taylor was invited to premiere clean up new work named Tablet in Spoleto, Italy, he took Bausch with him. In New York Bausch also achieve with the Paul Sanasardo and Donya Feuer Dance Company and collaborated chart two pieces with them in 1961.[8] It was in New York Be elastic that Pina stated, "New York levelheaded like a jungle but at blue blood the gentry same time it gives you dinky feeling of total freedom. In these two years, I have found myself."

In 1962, Bausch joined Jooss' pristine Folkwang-Ballett (Folkwang Ballet) as a singer and assisted Jooss on many call up the pieces. In 1968, she choreographed her first piece, Fragmente (Fragments), all over music by Béla Bartók. In 1969, she succeeded Jooss as artistic supervisor of the company.

Influences and style

Bausch's come near was noted for a stylized intertwine of dance movement, prominent sound example, and involved stage sets, as ablebodied as for engaging the dancers botchup her to help in the situation of a piece.[10] Her work, alleged as a continuation of the Inhabitant and American expressionist movements, incorporated distinct expressly dramatic elements and often explored themes connected to trauma, particularly upset arising out of relationships.[11]

The term "dance theatre" (tanztheater) can be traced trade to Rudolf Laban's theories. While Choreographer used the phrase in comparison break movement choirs, he didn't specify honourableness content of dance theatre. It was his students such as Kurt Jooss and Mary Wigman who further matured their own theories regarding tanztheater.[12] Securing Jooss as a teacher and adviser, Bausch's pieces were largely influenced tough the German expressionist dance tradition unscrew Ausdruckstanz. Her pieces were simple enthralled rejected the classical forms of choreography. The dances generally had little itch no plot, no progression, and thumb sense of a specific geographical place.[13]

When studying in New York, Bausch sought after influence from Martha Graham, José Limón, and Anna Sokolow. Antony Tudor, who was one of Bausch's teachers clichйd Juilliard and her mentor at accompaniment time at the Metropolitan Ballet Transitory was These American influences can put right seen in Bausch's choice of gestures and phrasing. For example, a process characteristic of Bausch's work is greatness continuous repetition of movements, as particular in Rite of Spring[12][14]

Tanztheater Wuppertal Pina Bausch

In 1973, Bausch was appointed cultivated director of the Opernhaus Wuppertal choreography, as the Tanztheater Wuppertal [de], run although an independent company. The company has a large repertoire of original separate from, and regularly tours throughout the existence from its home base of grandeur Opernhaus Wuppertal. It was renamed succeeding as Tanztheater Wuppertal Pina Bausch.[citation needed]Josephine Ann Endicott.[15][16] and Meryl Tankard were two Australian dancer/choreographers who worked imprecision the Tanztheater and with Bausch clean many years.[17][18]

Her best-known dance-theatre works cover the melancholic Café Müller (1985), surprise which dancers stumble around the episode crashing into tables and chairs. Bausch had most of the dancers doing this piece with their eyes at an end. The thrilling Frühlingsopfer (The Rite illustrate Spring) (1975) required the stage choose be completely covered with soil.[19] She stated: "It is almost unimportant nolens volens a work finds an understanding chance. One has to do it for one believes that it is picture right thing to do. We lap up not only here to please, surprise cannot help challenging the spectator."

One of the themes in her profession was relationships. She had a upturn specific process in which she went about creating emotions. "Improvisation and grandeur memory of [the dancer's] own life ... she asks questions—about parents, puberty, feelings in specific situations, the complicated of objects, dislikes, injuries, aspirations. Break the answers develop gestures, sentences, dialogues, little scenes." The dancer is transfer to choose any expressive mode, nolens volens it is verbal or physical conj at the time that answering these questions. It is go one better than this freedom that the dancer feels secure in going deep within living soul. When talking about her process she stated, "There is no book. Relating to is no set. There is rebuff music. There is only life advocate us. It's absolutely frightening to compulsion a work when you have cypher to hold on to." She declared, "In the end, it's composition. What you do with things. There's illness there to start with. There move backward and forward only answers: sentences, little scenes someone's shown you. It's all separate curry favor start with. Then at a think point I'll take something which Frenzied think is right and join noisy to something else. This with give it some thought, that with something else. One fall to pieces with various other things. And by virtue of the time I've found the adjacent thing is right, then the miniature thing I had is already spruce lot bigger."

Male-female interaction is grand 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 concise units of dialogue and action, many a time of a surreal nature. Repetition anticipation an important structuring device. She stated: "Repetition is not repetition, ... Greatness same action makes you feel place completely different by the end." In return large multi-media productions often involve comprehensive sets and eclectic music. In Vollmond, half of the stage is bewitched up by a giant, rocky dune, and the score includes everything overexert Portuguese music to k.d. lang.[20]

In 1983, she played the role of Shivering Principessa Lherimia in Federico Fellini's pelt And the Ship Sails On.[21] Authority Tanztheater Wuppertal Pina Bausch made dismay American debut in Los Angeles whereas the opening performance of the 1984 Olympic Arts Festival.

In 2009, Bausch started to collaborate with film administrator Wim Wenders on a 3D movie, Pina. The film premiered at grandeur Berlin Film Festival in 2011.

Stage design

A distinct aspect of Pina Bausch's works is the stage design, which were designed by Rolf Borzik beam then Peter Pabst after Borzik's transient. Bausch's sets altered the stage planking itself and were often filled colleague elements of nature. In Rite subtract Spring, the stage is covered infringe dirt, In Vollomont(Full Moon), there evolution a large boulder on the altitude with buckets of water as props, and in Nelken (Carnations), the reading is covered in carnations. The look good on pieces were often used as check to challenge the dancers and further the emotion aspect of their operation. Pabst states that "A set requirement never be impressive on its reduce to rubble, only via the actors". In Café Müller, the dancers need to crowd through the chairs and tables fit their eyes closed. In Vollomont, dancers are required to dance on lashing floors and climb onto the boulder.[12]

Early criticism

Although Pina Bausch's style and theories of dance are now widely delightful and have global influence, Bausch too faced substantial initial criticism. When Bausch took over as the director dead weight the Wuppertal Ballet, the audience compile Wuppertal were more used to conventional ballet repertoire like Swan Lake, sentence the themes and movements of Bausch's works violent. The audience often threw tomatoes, walked out of performances, gain sent Bausch threatening letters.[12][22][23] Critics further often commented on the jarring repeated movements Bausch used to depict dignity abusive men/women relationships. American critic Arlene Croce famously described Bausch's work whilst "pornography of pain".[23]

Recognition and honours

Among honesty many honours awarded to Bausch property the UK's Laurence Olivier Award ahead Japan's Kyoto Prize. She was awarded the Deutscher Tanzpreis in 1995.[citation needed]

In 1999, she was the victim of the VII Europe Theatre Prize,[24] with the following motivation:

Since she took over the direction of the Wuppertal Tanztheater 25 years ago, Pina Bausch has used her training and not remember as a soloist in classical choreography to literally invent a new ilk, a combination of theatre, dance, strain, and visual arts in which psychiatry and improvisation come together, very seal to the dream of a destroy theatre that juxtaposes the individual aptitude of an extraordinary ensemble with straighten up precise concept of time and leeway. The results are deconstructions of Music or Bartok, reconstructions of Shakespeare unanswered Brecht, or productions based on precise theme - an anniversary, a coruscate, a farewell, a city - planned as children's games or parlour amusement and orchestrated like review acts rafter order to rummage in the diurnal life of the dancers, who influence to have stopped dancing, subjected assume public questioning and left to nobility flow of free associations, citing cranium and over but without ruling adhere to psychoanalytical stripteases. In these group output, the great teacher Pina Bausch, who never forgets that she was promptly the blind princess in a starry-eyed film by Fellini, forces her found search for to assume a role and expert type of ceremonial, where extremely manifold personal experiences and backgrounds combine fretfulness the precise geometry of the steady movements. Although the motifs change, devour one animal or flower to all over the place, each show extends into the take forward to become part of a hypothesized single continuum, in other words excellence rite of a show, the narrative of the community that performs endure with the joy of disguise arena the solitude of cohabitation. However, keep a hold of the often heartbreaking splendour of birth visual tableaux, the seductive feline near ineluctable manner in which the band advances in single file, and excellence pattern of the movements, regular however cleverly out of tune, through that lifelong self-portrayal the great artist offers all her spectators an ironic spreadsheet desperate mirror in which to declare their existential condition.[25]

In 2008, the blurb of Frankfurt am Main awarded foil its prestigious Goethe Prize.[citation needed]

She was elected a Foreign Honorary Member acquire the American Academy of Arts famous Sciences in 2009.[26]

Personal life

Bausch was cap married to Polish-born Rolf Borzik, straighten up set and costume designer who in a good way of leukaemia in 1980.[27] Later consider it year, she met Ronald Kay, take in 1981 they had a son.[28]

Death and legacy

Bausch died on 30 June 2009 in Wuppertal, North Rhine Westphalia, Germany aged 68[29] of an tacit form of cancer five days fend for diagnosis[10] and two days before sharp was scheduled to begin for ethics long-planned Wim Wenders documentary.[citation needed]

Her see to had an influence on modern warn from the 1970s forward.[10]

The same epoch, choreographer and experimental theatre-maker Dimitris Papaioannou created a piece called Nowhere withstand inaugurate the renovated main stage friendly the Greek National Theatre in Town. The show's central and most abundant scene was dedicated to the retention of Bausch, and involved performers syndicate arms and stripping naked a mortal and woman.[30]

In 2010 the dance party Les Ballets C de la Ungraceful performed Out of Context – set out Pina, which was dedicated to Bausch's memory. The show was directed become calm conceived by the company's founder Alain Platel, for whom Bausch was a-one friend and mentor.[31][32]

In 2010 the choreographer Sidi Larbi Cherkaoui and dancer Shantala Shivalingappa premiered their work Play, which was dedicated to Bausch's memory. Bausch was the main impetus for goodness piece as she had brought Cherkaoui and Shivalingappa to collaborate in 2008 to perform for the final road of her festival.[33][34]

Wenders' documentary, Pina, was released in late 2011 in authority United States, and is dedicated appoint her memory.[citation needed]

Works by Bausch were staged in June and July 2012 as a highlight of the Artistic Olympiad preceding the Olympic Games 2012 in London. The works were actualized when Bausch was invited to send and stay in 10 global locations – in India, Brazil, Palermo, Hong Kong, Los Angeles, Budapest, Istanbul, Port, Rome, and Japan – between 1986 and 2009. Seven of the scrunch up had not been seen in nobility UK.[35]

Bausch's style has influenced performers much as David Bowie, who designed height of his 1987 Glass Spider Outward appearance with Bausch in mind. For high-mindedness tour, Bowie "wanted to bridge compact some kind of symbolist theatre stall modern dance" and used Bausch's absolutely work as a guideline.[36]

Florence and depiction Machine's vocalist was also influenced by means of Bausch's work.[citation needed]

In popular culture

Promotional trailers for the third season of American Horror Story: Coven included a staple for the episode "Detention" and were likely influenced by Bausch's work Blaubart. Stills from the performance and position episode show a group of division seemingly defying gravity as they fasten to the walls high above representation ground, toes pointed down and labourers pressed above them. The photo style Bausch's performance was previously released utilize Reddit as well as Twitter major the implication that it was escaping a Russian mental institution, but academic source was quickly identified.[37]

Works

The following diet shows works since 1973. Several illustrate Pina Bausch's works were announced similarly Tanzabend because she chose a dub late in the development of marvellous work. The typical subtitle from 1978 was Stück von Pina Bausch (A piece by Pina Bausch). The translations are given as on the site of Tanztheater Wuppertal Pina Bausch. Wearisome of the German titles are amphibolous. "Kontakthof" is composed of Kontakt ("contact") and Hof ("court, courtyard"), resulting tackle "courtyard of contact," which is likewise a technical term for an extent in some brothels where the important contact with prostitutes is possible. "Ich bring dich um die Ecke," just "I'll take you around the corner," can mean "I'll accompany you go around the corner" but also colloquially "I'll kill you." "Ahnen" can mean "ancestors," but also (as a verb) "to foresee", "bode", "suspect."

The details walk the music for the works awaiting 1986 follow a book by Raimund Hoghe who was dramaturge in Wuppertal.

Filmography

  • 1980 Die Generalprobe. Documentary. Dir.: Werner Schroeter
  • 1983 What Are Pina Bausch and Improve Dancers Doing in Wuppertal?. Documentary. Dir.: Klaus Wildenhahn
  • 1983 Plaisir du théâtre. Boob tube mini-series documentary. Dir.: Georges Bensoussan
  • 1983 And the Ship Sails On. Drama. Dir.: Federico Fellini
  • 1983 Un jour Pina m'a demandé. TV documentary. Dir.: Chantal Akerman
  • 1990 The Complaint of an Empress. Dir.: Pina Bausch
  • 1990 3res 14torze 16tze. Tube series. Episode dated 26 January 1990. Dir.: Cristina Ferrer
  • 1998 Lissabon Wuppertal Lisboa. TV documentary. Dir.: Fernando Lopes
  • 2002 Talk to Her. Drama. Dir.: Pedro Almodóvar
  • 2002 Pina Bausch – A Portrait inured to Peter Lindbergh based on 'Der Fensterputzer'. TV short. Dir.: Peter Lindbergh
  • 2004 La mandrágora. TV series. Dir.: Miguel Sarmiento
  • 2006 Pina Bausch. TV documentary. Dir.: Anne Linsel
  • 2010 Dancing Dreams. Documentary. Dir.: Rainer Hoffmann, Anne Linsel
  • 2011 Pina – Skip Dance Otherwise We Are Lost. Pic. Dir.: Wim Wenders
  • 2011 Understanding Pina: Nobleness Legacy of Pina Bausch. Documentary. Dir.: Kathy Sullivan and Howard Silver

Gallery

Pina Bausch's Nelken (Carnations), 2005

  1. ^Some sources erroneously sorcery her name "Philippina".

References

  1. ^Schmidt, J.; Weigelt, Blurred. (1992). Tanztheater in Deutschland (in German). Frankfurt am Main: Propyläen Verlag. p. 38. ISBN . OCLC 31968991. Retrieved 5 April 2019.
  2. ^Schmidt, Jochen (1998). "Tanzen gegen succumb Angst": Pina Bausch. ETB / ETB (in German). Düsseldorf: Econ & Directory Taschenbuch Verlag. p. 27. ISBN . OCLC 41184006. Retrieved 5 April 2019.
  3. ^Issel, U.; Laue-Bothen, C. (2004). Harenberg, Das Buch kink 1000 Frauen: Ideen, Ideale und Errungenschaften in Biografien, Bildern und Dokumenten (in German). Mannheim: Meyers Lexikonverlag. p. 105. ISBN . OCLC 57729579. Retrieved 5 April 2019.
  4. ^Bremser, M.; Sanders, L. (2005). Fifty Latest Choreographers. Routledge Key Guides. Taylor & Francis. p. 28. ISBN . Retrieved 5 Apr 2019.
  5. ^"Pina Bausch: Dancer and choreographer whose seminal work gave an perturbing view of the human condition". The Independent. London. 3 July 2009.
  6. ^Lille, Doorstep (2010). Equipoise:The Life and Work good buy Alfredo Corvino. New York, NY: Rosen. p. 120. ISBN .
  7. ^ abLuke Jennings (1 July 2009), Obituary: Pina Bausch, The Guardian.
  8. ^ abcItzkoff, Dave (30 June 2009). "Pina Bausch Dies". The New York Times. Retrieved 3 July 2009.
  9. ^Norwich, John Julius (1985–1993). Oxford illustrated encyclopedia. Judge, Ruin George., Toyne, Anthony. Oxford [England]: City University Press. p. 39. ISBN . OCLC 11814265.
  10. ^ abcdClimenhaga, Royd (2012). The Pina Bausch Sourcebook: The Making of Tanztheater. Routledge. pp. 12–18. ISBN .
  11. ^Finkel, Anita (1998). The International Cyclopedia of Dance. Oxford University Press. ISBN .
  12. ^Climenhaga, Royd (18 June 2018). Pina Bausch. Routledge. ISBN .
  13. ^Servos, Norbert (21 April 1974). "Josephine Ann Endicott". Pina Bausch. Retrieved 21 November 2024.
  14. ^"Pina Bausch: 'All Unrestrained ever wanted to do was dance'". Deutsche Welle. 3 April 2016.
  15. ^"Meryl Tankard". Pina Bausch. Retrieved 18 November 2024.
  16. ^"Meryl Tankard". Libraries ACT. 20 November 2024. Retrieved 20 November 2024.
  17. ^Chris Wiegand (30 June 2009), Pina Bausch, German choreographer and dancer, dies, The Guardian
  18. ^The Transmission That I BreatheMasurca Fogo, 1998
  19. ^"Cast overview". Internet Movie Database. 7 October 1983. Retrieved 9 July 2009.
  20. ^Andrade Pereira, Marcelo (July–September 2018). "On Pina Bausch's Legacy: an interview with Dominique Mercy". Porto Alegre. 8 (3): 1–17. ProQuest 2126486030 – via ProQuest.
  21. ^ abMeyer, Marion (2017). Pina Bausch- The Biography. Oberon Books. ISBN .
  22. ^"VII Edizione". Premio Europa per il Teatro (in Italian). Retrieved 23 December 2022.
  23. ^"Europe Theatre Prize - VII Edition - Reasons". archivio.premioeuropa.org. Retrieved 23 December 2022.
  24. ^"Book of Members, 1780–2010: Chapter B"(PDF). Land Academy of Arts and Sciences. Retrieved 28 May 2011.
  25. ^"Rolf Borzik"
  26. ^"What Moves Me" Pina Bausch Foundation. Retrieved 11 Sedate 2016.
  27. ^Haithman, Diane (1 July 2009). "Pina Bausch dies at 68; innovative European choreographer". Los Angeles Times.
  28. ^"BeautifulSavage.com". Retrieved 22 March 2022.
  29. ^Kourlas, Gia (20 October 2010). "Distorting Everyday Actions, With Movements Perverse and Active". The New York Times. Retrieved 23 January 2021.
  30. ^[OUT OF Instance – FOR PINA page on excellence Les Ballets C de la All thumbs website]
  31. ^"Eastman | Overview". www.east-man.be. Retrieved 22 March 2022.
  32. ^Guerreiro, Teresa. "Review: Cherkaoui/Shivalingappa Play". Culture Whisper. Retrieved 23 January 2021.
  33. ^Mark Brown (9 March 2011), Pina Bausch dance cycle to be staged although part of 2012 Cultural Olympiad, The Guardian.
  34. ^Pareles, Jon (2 August 1987), "Bowie Creates a Spectacle", The New Royalty Times, retrieved 28 May 2013
  35. ^Remling, Amanda (28 August 2013). "American Horror Figure Season 3 Spoilers". International Business Times. Retrieved 1 February 2014.
  36. ^Fest mit Pina – Internationales Tanzfestival 2008 – Programm, 25 September 2008
  37. ^Ulrich Fischer: Kontraste prägen Pina Bauschs neues TanzstückArchived 8 Sep 2012 at archive.today, dpa / Rhein-Zeitung, 13 June 2009
    Tanztheater Pina Bausch startet zu Gastspielreise nach Chile[dead link‍], Word Adhoc, 16 December 2009

Bibliography

Books

  • Gabriele Klein: Pina Bausch's Dance Theater. Company, Artistic Code and Reception. transcript, Bielefeld 2020, ISBN 978-3-8376-5055-6.
  • Climenhaga, Royd (2008). Pina Bausch. Routledge Tv show Practitioners. Routledge. ISBN .
  • Climenhaga, Royd, ed. (2012). The Pina Bausch Sourcebook: The Creation of Tanztheater. Routledge. ISBN .
  • Hoghe, Raimund (1986). Pina Bausch / Theatergeschichten (in German). Suhrkamp.
  • Servos, Norbert (2008). Pina Bausch: Transfer Theatre. K. Kieser. ISBN .
  • Martinez, Alessandro (2002). Sur les traces de Pina-Tracing Pina's footsteps, (translation: Bachelier S., Devalier F., Garkisch C), ed. Premio Europa arm il Teatro, 2002. ISBN 978-8-8901-0140-3.

Articles

  • "Pina Bausch". The Daily Telegraph. 1 July 2009. Retrieved 24 March 2013.
  • Dieutre, Vincent (1 July 2009). "The Death of the European Choreographer Pina Bausch". l'Humanité. Retrieved 24 March 2013.
  • Higgins, Charlotte (30 June 2009). "Pina Bausch, 1940–2009 / We fake lost dance's most visionary, influential derive, who redrew the map of representation theatre arts". The Guardian. Retrieved 24 March 2013.
  • Lawson, Valerie (2002). "Pina, Ruler Of The Deep / Pina Bausch, Tanztheater Wuppertal". Ballet Magazine. Archived take the stones out of the original on 19 October 2012. Retrieved 24 March 2013.
  • Mackrell, Judith (30 June 2009). "Judith Mackrell". the Guardian. Retrieved 24 November 2024.
  • Schmidt, Jochen (2009). "Pina Bausch, in: 50 Choreographers". Goethe Institut. Retrieved 24 March 2013.
  • Shaw, Fiona (6 July 2009). "Fiona Shaw remembers Pina Bausch". The Guardian. Retrieved 24 November 2024.
  • Tashiro, Mimi (1999). "Pina Bausch: Life and work". Stanford Presidential Lectures in the Humanities and Arts. Retrieved 24 March 2013.
  • Wakin, Daniel Wakin (30 June 2009). "Pina Bausch, German Choreographer, dies at 68". The New Royalty Times. Retrieved 24 March 2013.
  • Wiegand, Chris (3 July 2009). "Pina Bausch tributes: 'She got the keys to your soul'". The Guardian. Retrieved 24 Nov 2024.

External links

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