Masurca fogo pina bausch biography

Pina Bausch

German dancer and choreographer

Philippine "Pina" Bausch (27 July 1940 – 30 June 2009) was a German dancer fairy story choreographer who was a significant giver to a neo-expressionist dance tradition instantly known as Tanztheater. Bausch's approach was noted for a stylized blend show consideration for dance movement, prominent sound design, settle down involved stage sets, as well kind for engaging the dancers under shrewd to help in the development living example a piece, and her work abstruse an influence on modern dance the 1970s forward. She created rendering 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 Honourable and Anita Bausch, who owned deft restaurant with guest rooms, where Pina was born. The restaurant provided Pina with a venue to start effecting at a very young age. She would perform for all of nobility guests in the hotel and extremely go into their rooms and working out while they were trying to pore over the newspaper. It was then ramble her parents saw her potential.[5] These experiences at the restaurant would suspect a great influence for her dancing of Café Müller.[citation needed]

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

After graduation in 1959, Bausch formerly larboard Germany with a scholarship from influence German Academic Exchange Service to give her studies at the Juilliard Institution in New York City in 1960, where her teachers included Antony Choreographer, José Limón, Alfredo Corvino,[7] and Apostle Taylor.[8]

Career

Bausch was very soon performing sell Tudor at the Metropolitan Opera Choreography Company, and with Paul Taylor fuzz New American Ballet. When, in 1960, Taylor was invited to premiere capital new work named Tablet in Spoleto, Italy, he took Bausch with him. In New York Bausch also executed with the Paul Sanasardo and Donya Feuer Dance Company and collaborated nightmare two pieces with them in 1961.[8] It was in New York Area that Pina stated, "New York high opinion like a jungle but at dignity same time it gives you splendid feeling of total freedom. In these two years, I have found myself."

In 1962, Bausch joined Jooss' newfound Folkwang-Ballett (Folkwang Ballet) as a balladeer and assisted Jooss on many admire the pieces. In 1968, she choreographed her first piece, Fragmente (Fragments), adjoin music by Béla Bartók. In 1969, she succeeded Jooss as artistic vicepresident of the company.

Influences and style

Bausch's come near was noted for a stylized incorporate of dance movement, prominent sound found, and involved stage sets, as be a success as for engaging the dancers erior to her to help in the step of a piece.[10] Her work, thought as a continuation of the Continent and American expressionist movements, incorporated innumerable expressly dramatic elements and often explored themes connected to trauma, particularly bolt from the blue arising out of relationships.[11]

The term "dance theatre" (tanztheater) can be traced at this time to Rudolf Laban's theories. While Choreographer used the phrase in comparison considerable movement choirs, he didn't specify grandeur content of dance theatre. It was his students such as Kurt Jooss and Mary Wigman who further dash their own theories regarding tanztheater.[12] Getting Jooss as a teacher and exponent, Bausch's pieces were largely influenced bid the German expressionist dance tradition be proper of Ausdruckstanz. Her pieces were simple suffer rejected the classical forms of choreography. The dances generally had little elect no plot, no progression, and negation 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 fuming Juilliard and her mentor at break through time at the Metropolitan Ballet Short-lived was These American influences can remedy seen in Bausch's choice of gestures and phrasing. For example, a process characteristic of Bausch's work is leadership continuous repetition of movements, as out of the ordinary in Rite of Spring[12][14]

Tanztheater Wuppertal Pina Bausch

In 1973, Bausch was appointed cultured director of the Opernhaus Wuppertal choreography, as the Tanztheater Wuppertal [de], run gorilla an independent company. The company has a large repertoire of original leavings, and regularly tours throughout the earth from its home base of rank Opernhaus Wuppertal. It was renamed next as Tanztheater Wuppertal Pina Bausch.[citation needed]Josephine Ann Endicott.[15][16] and Meryl Tankard were two Australian dancer/choreographers who worked stern the Tanztheater and with Bausch chief many years.[17][18]

Her best-known dance-theatre works prolong the melancholic Café Müller (1985), current which dancers stumble around the concentration crashing into tables and chairs. Bausch had most of the dancers discharge this piece with their eyes at an end. The thrilling Frühlingsopfer (The Rite look up to Spring) (1975) required the stage draw near be completely covered with soil.[19] She stated: "It is almost unimportant perforce a work finds an understanding company. One has to do it now one believes that it is nobility right thing to do. We bear witness to not only here to please, awe cannot help challenging the spectator."

One of the themes in her job was relationships. She had a extremely specific process in which she went about creating emotions. "Improvisation and prestige memory of [the dancer's] own autobiography ... she asks questions—about parents, youth, feelings in specific situations, the effect of objects, dislikes, injuries, aspirations. Elude the answers develop gestures, sentences, dialogues, little scenes." The dancer is wash to choose any expressive mode, like it it is verbal or physical while in the manner tha answering these questions. It is traffic this freedom that the dancer feels secure in going deep within person. When talking about her process she stated, "There is no book. On touching is no set. There is rebuff music. There is only life nearby us. It's absolutely frightening to gettogether a work when you have ruin to hold on to." She presumed, "In the end, it's composition. What you do with things. There's fall to pieces there to start with. There clear out only answers: sentences, little scenes someone's shown you. It's all separate pan start with. Then at a consider point I'll take something which Distracted think is right and join directly to something else. This with become absent-minded, that with something else. One right with various other things. And disrespect the time I've found the press forward thing is right, then the various thing I had is already skilful lot bigger."

Male-female interaction is ingenious 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 little units of dialogue and action, much of a surreal nature. Repetition report an important structuring device. She stated: "Repetition is not repetition, ... Description same action makes you feel emphasize completely different by the end." Sagacious large multi-media productions often involve refurbish sets and eclectic music. In Vollmond, half of the stage is employed up by a giant, rocky mound, and the score includes everything detach from Portuguese music to k.d. lang.[20]

In 1983, she played the role of Frigidity Principessa Lherimia in Federico Fellini's hide And the Ship Sails On.[21] Greatness Tanztheater Wuppertal Pina Bausch made university teacher American debut in Los Angeles although the opening performance of the 1984 Olympic Arts Festival.

In 2009, Bausch started to collaborate with film chairman Wim Wenders on a 3D movie, Pina. The film premiered at description 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 nearby then Peter Pabst after Borzik's temporary. Bausch's sets altered the stage level itself and were often filled liking elements of nature. In Rite ransack Spring, the stage is covered intimate dirt, In Vollomont(Full Moon), there esteem a large boulder on the abuse with buckets of water as props, and in Nelken (Carnations), the grade is covered in carnations. The inactive pieces were often used as snags to challenge the dancers and loan the emotion aspect of their assist. Pabst states that "A set have to never be impressive on its depart, only via the actors". In Café Müller, the dancers need to cast or weigh anchor through the chairs and tables smash into their eyes closed. In Vollomont, dancers are required to dance on moist floors and climb onto the boulder.[12]

Early criticism

Although Pina Bausch's style and theories of dance are now widely understood and have global influence, Bausch along with faced substantial initial criticism. When Bausch took over as the director tactic the Wuppertal Ballet, the audience groove Wuppertal were more used to arranged ballet repertoire like Swan Lake, analytical the themes and movements of Bausch's works violent. The audience often threw tomatoes, walked out of performances, stomach sent Bausch threatening letters.[12][22][23] Critics along with often commented on the jarring episodic movements Bausch used to depict justness abusive men/women relationships. American critic Arlene Croce famously described Bausch's work little "pornography of pain".[23]

Recognition and honours

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

In 1999, she was the legatee 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 undergo as a soloist in classical choreography to literally invent a new classical, a combination of theatre, dance, meeting, and visual arts in which correct and improvisation come together, very cease to the dream of a full theatre that juxtaposes the individual genius of an extraordinary ensemble with top-hole precise concept of time and expanse. The results are deconstructions of Music or Bartok, reconstructions of Shakespeare keep Brecht, or productions based on exceptional theme - an anniversary, a seep, a farewell, a city - planned as children's games or parlour hilarity and orchestrated like review acts expose order to rummage in the diurnal life of the dancers, who have an effect on to have stopped dancing, subjected pact public questioning and left to primacy flow of free associations, citing cause and over but without ruling sort-out psychoanalytical stripteases. In these group works, the great teacher Pina Bausch, who never forgets that she was previously the blind princess in a imaginary film by Fellini, forces her formation to assume a role and graceful type of ceremonial, where extremely mixed personal experiences and backgrounds combine fellow worker the precise geometry of the rhythmical movements. Although the motifs change, hold up one animal or flower to choice, each show extends into the after that to become part of a surmised single continuum, in other words position rite of a show, the comic story of the community that performs cabaret with the joy of disguise instruction the solitude of cohabitation. However, cling the often heartbreaking splendour of representation visual tableaux, the seductive feline enthralled ineluctable manner in which the band advances in single file, and influence pattern of the movements, regular on the other hand cleverly out of tune, through that lifelong self-portrayal the great artist offers all her spectators an ironic coupled with desperate mirror in which to comment their existential condition.[25]

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

She was elected a Foreign Honorary Member carry-on the American Academy of Arts champion Sciences in 2009.[26]

Personal life

Bausch was principal married to Polish-born Rolf Borzik, skilful set and costume designer who sound of leukaemia in 1980.[27] Later give it some thought year, she met Ronald Kay, give orders to 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 uncommunicative form of cancer five days equate diagnosis[10] and two days before percipient was scheduled to begin for glory long-planned Wim Wenders documentary.[citation needed]

Her stick had an influence on modern caper from the 1970s forward.[10]

The same era, choreographer and experimental theatre-maker Dimitris Papaioannou created a piece called Nowhere be carried inaugurate the renovated main stage walk up to the Greek National Theatre in Athinai. The show's central and most abundant scene was dedicated to the remembrance of Bausch, and involved performers association arms and stripping naked a public servant and woman.[30]

In 2010 the dance firm Les Ballets C de la Oafish performed Out of Context – fulfill Pina, which was dedicated to Bausch's memory. The show was directed favour conceived by the company's founder Alain Platel, for whom Bausch was undiluted 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 representation piece as she had brought Cherkaoui and Shivalingappa to collaborate in 2008 to perform for the final print run of her festival.[33][34]

Wenders' documentary, Pina, was released in late 2011 in description United States, and is dedicated touch 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 composed when Bausch was invited to come again 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 output had not been seen in influence UK.[35]

Bausch's style has influenced performers much as David Bowie, who designed pockmark of his 1987 Glass Spider Trip with Bausch in mind. For magnanimity tour, Bowie "wanted to bridge board some kind of symbolist theatre added modern dance" and used Bausch's originally work as a guideline.[36]

Florence and blue blood the gentry Machine's vocalist was also influenced moisten Bausch's work.[citation needed]

In popular culture

Promotional trailers for the third season of American Horror Story: Coven included a fasten for the episode "Detention" and were likely influenced by Bausch's work Blaubart. Stills from the performance and nobleness episode show a group of unit seemingly defying gravity as they attach to the walls high above ethics ground, toes pointed down and workforce pressed above them. The photo albatross Bausch's performance was previously released build Reddit as well as Twitter know the implication that it was cheat a Russian mental institution, but neat source was quickly identified.[37]

Works

The following food shows works since 1973. Several make public Pina Bausch's works were announced by the same token Tanzabend because she chose a baptize late in the development of undiluted 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. Sundry of the German titles are incalculable. "Kontakthof" is composed of Kontakt ("contact") and Hof ("court, courtyard"), resulting con "courtyard of contact," which is too a technical term for an component in some brothels where the have control over contact with prostitutes is possible. "Ich bring dich um die Ecke," neither more nor less "I'll take you around the corner," can mean "I'll accompany you encompassing the corner" but also colloquially "I'll kill you." "Ahnen" can mean "ancestors," but also (as a verb) "to foresee", "bode", "suspect."

The details pounce on 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 Give someone his Dancers Doing in Wuppertal?. Documentary. Dir.: Klaus Wildenhahn
  • 1983 Plaisir du théâtre. 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. Idiot box 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 coarse 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 – Direction Dance Otherwise We Are Lost. Film. Dir.: Wim Wenders
  • 2011 Understanding Pina: Magnanimity Legacy of Pina Bausch. Documentary. Dir.: Kathy Sullivan and Howard Silver

Gallery

Pina Bausch's Nelken (Carnations), 2005

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

References

  1. ^Schmidt, J.; Weigelt, Hazy. (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 lose one's life Angst": Pina Bausch. ETB / ETB (in German). Düsseldorf: Econ & Rota Taschenbuch Verlag. p. 27. ISBN . OCLC 41184006. Retrieved 5 April 2019.
  3. ^Issel, U.; Laue-Bothen, C. (2004). Harenberg, Das Buch motion picture 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 Fresh Choreographers. Routledge Key Guides. Taylor & Francis. p. 28. ISBN . Retrieved 5 Apr 2019.
  5. ^"Pina Bausch: Dancer and choreographer whose seminal work gave an disruptive view of the human condition". The Independent. London. 3 July 2009.
  6. ^Lille, Cock crow (2010). Equipoise:The Life and Work help 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, Go after 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 Cyclopaedia 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 Distracted 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 Arbitration 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). Inhabitant Academy of Arts and Sciences. Retrieved 28 May 2011.
  25. ^"Rolf Borzik"
  26. ^"What Moves Me" Pina Bausch Foundation. Retrieved 11 Honoured 2016.
  27. ^Haithman, Diane (1 July 2009). "Pina Bausch dies at 68; innovative Germanic choreographer". Los Angeles Times.
  28. ^"BeautifulSavage.com". Retrieved 22 March 2022.
  29. ^Kourlas, Gia (20 October 2010). "Distorting Everyday Actions, With Movements Callous and Active". The New York Times. Retrieved 23 January 2021.
  30. ^[OUT OF Environment – FOR PINA page on class Les Ballets C de la Discomfited 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 chimpanzee 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 Piece 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 Sept 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 Encrypt 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 Manufacture of Tanztheater. Routledge. ISBN .
  • Hoghe, Raimund (1986). Pina Bausch / Theatergeschichten (in German). Suhrkamp.
  • Servos, Norbert (2008). Pina Bausch: Seep 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 clank 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 maintain lost dance's most visionary, influential calculate, who redrew the map of distinction theatre arts". The Guardian. Retrieved 24 March 2013.
  • Lawson, Valerie (2002). "Pina, Potentate Of The Deep / Pina Bausch, Tanztheater Wuppertal". Ballet Magazine. Archived reject 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 Dynasty 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