Who is Pina Bausch and what is her legacy to the dance world? Her dance training under Kurt Jooss, a leader in the German movement to synthesize classical and modern dance, gave Pina a sense of the freedom to be found in dance whilst building a classical foundation. Importantly during this time was the proximity to opera, music, drama and other arts taught at the school. She earned a study grant to the Julliard School in New York training with Antony Tudor and dancers of the Martha Graham Dance Company before returning to the Tanztheater Wuppertal in as director and choreographer.
Cut to a wide angle of the same stage, temporarily devoid of these dancers, as stage hands spread a floor of thick brown soil, an arena for a multiplying group of shoeless women in white negligees to prance about in, growing increasingly dirty, as none of the now-more-than dozen appear to be willing to approach the lone colorful swath of cloth lying at stage center: Enter an equally large group of barefoot, breathless men clad only in dark pants.
Here among the earth-covered stage, the camera becomes the visual point-of-view of the alpha male of the group, as different women take turns handling the crimson satin, sheepishly approaching him and us with their offering, before retreating back, some terrified, into a huddled, writhing mass of female bodies.
Ultimately, his and by extension, our hands choose a partner, transformed into a lady in red, her now-bright slip standing out brilliantly amongst the stained whites, the blacks and the browns. Originally, it was mounted as a piece featuring well-dressed men and women who have come to meet in a three-walled dance hall, for a time silently sitting in folding chairs, until one by one they begin enveloping a lone gal, who stands prone as they aggressively, repetitively and playfully poke and prod her.
Wenders, meanwhile, has chosen to present all three renditions as one, artfully cutting between the dancers of different age groups, blending the generations into a cohesive whole, at one point transforming the woman at the center of attention from slim brunette Nazareth Panadero into statuesque blonde Julie Shanahan.
Periodically, he intercuts 2-D, black-and-white, behind-the-scenes shots of the frequently barefoot Bausch, his friend who tragically died two days before rehearsals for the film were to begin, just five days after her cancer diagnosis at age Through the work on display here, its hard to argue with this claim.
Written and directed by WimWenders.
Sign up for daily e-mails.Philippina “Pina” Bausch ( – ) was a German performer of modern dance, choreographer, dance teacher and ballet director. With her unique style, a blend of movements, sounds and prominent stage sets, and with her elaborate cooperation with performers during the composition of a piece (a style now known as Tanztheater), she became a.
That’s a lifetime of relationship baggage right there, and somehow you see it all in Kontakthof, the dance-theater work by Pina Bausch, the celebrated German choreographer who died in The German choreographer and dancer Pina Bausch died this morning at the age of 68, five days after being diagnosed with cancer..
Bausch was the artistic director of the Tanztheater Wuppertal.
Jun 30, · German choreographer Pina Bausch, whose work is credited with revolutionizing the language of modern dance, died on Tuesday after being diagnosed with cancer only days earlier. She was 68 years old.
Pina Bausch brought dance, theatre and German expressionism together – a blend of raw emotionalism, stark movement, earthly pathos and humour.
As Wenders comments ‘it is there to shock you.’ Pina wanted to confront audiences with the teutonic ‘Sturm und Drang’ (storm and stress) of everyday life through her work. The German Tanztheater ("dance theatre") grew out of German Expressionist dance in Weimar Germany and s Vienna.
The term first appears around to identify a particular style of dance emerging from within the new forms of 'expressionist dance' developing in Central Europe since