By Royd Climenhaga
Pina Bausch’s paintings has had great influence around the spectrum of past due twentieth-century functionality perform, supporting to redefine the probabilities of what either dance and theater may be. This edited assortment offers a compendium of resource fabric and contextual essays that learn Pina Bausch's heritage, perform and legacy, and the improvement of Tanztheater as a brand new shape, with sections including:
- Dance and theatre roots and connections;
- Bausch’s developmental process;
- The construction of Tanztheater;
- Bausch’s reception;
- Critical perspectives.
Interviews, stories and significant essays chart the evolution of Bausch’s pioneering method and discover this evocative new mode of functionality. Edited by way of famous Bausch pupil, Royd Climenhaga, The Pina Bausch Sourcebook goals to open up Bausch’s performative global for college students, students, dance and theatre artists and audiences everywhere.
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Extra info for The Pina Bausch Sourcebook: The Making of Tanztheater
Sample text
As a post-war choreographer, Bausch based her dance theatre on realism. She revolted against the false feeling of security of the Adenauer era and showed men destroying themselves and their environment. Bausch had no direct contact with Mary Wigman, but she responded strongly to two of her ideas: man and his relation to the universe and Wigman’s belief in fate. Bausch reflects on how the theme of men and women in conflict affects a single life. She is not a feminist, but like Wigman, believes in fate.
According to Jooss’s belief, all those practices are breaking the illusion of theatre. For Bausch, it is more important to make a statement about the human condition. This is what she said in an interview for the yearbook Ballett, 1986: “I only know that the time in which we live, the time with all its anxieties is very much with me. ” Expressionism? “Ausdruckstanz” and the New Dance Theatre in Germany Hedwig Müller Originally published in Festival International de Nouvelle Danse, Montreal, Souvenir Program, Fall, 1986.
There are children’s games (duck-duck-goose in 1980, musical chairs in Arien) and social rituals (the dinner party in Arien, the funeral and formal good-byes in 1980). There are images of food and of eating. In 1980 performers enter with plates of jello, and Kyomi Ichida throws her piece into the air and catches it on her plate like a juggler, while Grossmann shakes her piece of jello and then her breasts; in Gebirge, Minarik makes a sandwich of his hand and offers it to a spectator. There are endless line-ups, processions, and take-offs on beauty contests.