In general, her full name sounds like the Philippines, but in ballet circles she is known as Pina Bausch, a German dancer and choreographer. She has been on the stage since she was 5, she studied first in Germany (a high school in Essen), then in the USA (Dzhulyardovskaya school). Then she worked in the New American Ballet and the Metropolitan Opera (USA), in Germany in the Folkwang Ballet and in the ballet of the Wuppertal Theater.
Receiving an invitation to German groups as a dancer, Pina Bausch after some time became the artistic director of ballet troupes. And the Wuppertal Theater was soon renamed the Pina Bausch Dance Theater. With Wuppertal and the Ballet Theater since the 70s. of the last century and all the creative activity of Pina Bausch is connected.
Here she staged all of her famous ballets, became a world-class choreographer, gained recognition, many world ballet awards and prizes, and left here with the theater for touring and returning here. The figure is 35 years old, and that is how much Pina was associated with Wuppertal, of course, commands respect.
Where and how?
6 years have passed since the death of Pina Bausch, symbolically, just in 2009. (year of death) she was going to bring her new dance program "About the Seven Deadly Sins" to Moscow for the international festival. And the first visit to Russia with the play "Carnations" took place in 1989. The famous performances of Pina Bausch "Sacred Spring" (to the music of I. Stravinsky) and "Café Muller" were also seen in Moscow. In the last ballet Pina danced, and she was already more than 50ti.
But then the answer to the question: where can I meet with Pina's ballets - will be like this:
- in Wuppertal (Germany) the Pina Bausch Theater still exists, now its leader is Lutz Förster, which since 1975. he was the lead soloist of the Pina theater troupe, and worked with her until her death;
- In 2011, Wim Wenders' Pin appeared. Passion Dance 3D ", which the author (Wim W.) began shooting while the choreographer was still alive, then decided to interrupt the shooting, but seeing that the actors of the Pina theater continue to work actively, I realized that the film should be finished;
- on the Internet in Vkontakte There is an open group of Pins (//vk.com/pina_bausch), where almost all of her ballets are represented.
Therefore, it is quite possible to get an idea of what has brought such new things to the art of ballet Pina Bausch. You just need to spend some time watching the Wenders movie and see at least a few, and better - Pina's versatile ballets.
What surprises and amazes?
First, just some facts:
- "Orpheus and Eurydice" with K. Gluck's music. The play's genre is a dance operator, where a full choreographic performance takes place on the stage, but the vocal and instrumental beginning is also present. You can even call it all a dance-vocal two-voice. The choreography is modern (non-academic), the character of the dance gesture and movement directly depends on the restrained tempo of the music;
- "Sacred spring". In comparison with the "Orpheus" - this is rampant passions and emotions. And, accordingly, in plastic there is riot, swiftness and wildness of gesture and movement;
- routine and everyday life. Ballet "Kontakthof" (Kontackthof) will amaze with the choice of dancers and dancers of old age, which are perceived simply as "people from the street." The simplicity and elementary nature of their movements makes them “puzzle their brains” over the question: what is actually happening? The answer is no, but music and ordinary everyday plastic give a hint that perhaps this is the choreographic embodiment of everyday male-female intercourse, where a variety of solo-ensemble acts alternate with amazing choreographic humor;
- earthly and sublime in "Cafe Muller"or the neighborhood of everyday situations and high musical classics (G. Purcell "Dido and Aeneas"), and all this is in the language of a piercing gesture. The performance is, apparently, Pina’s attempt to say that it is possible to talk not only by means of a word (oral and written), but also in some other way. And the most interesting thing is that everything that happens on stage is recognizable and well understood;
And if you begin to get acquainted with Pina with the movie “Pina. A Dance of Passion,” then perhaps the viewer will have the conviction that he, too, will be able to walk, work with his fingers, make some gestures, that is, become an actor of the Pina theater, but - online. Why not?! It's great when high art wants to "imitate" instantly and now.
About choreography and appearance
Pina is not afraid of the age of the dancers, is not afraid of their appearance, most likely she will not find the usual ballet "prettiness". But, nevertheless, her ballets are a high art that is able to capture and hold the viewer's attention. But why is this happening?
There is no doubt that the choreographer manages with any performer to "prescribe" the choreographic line of conduct of the dancer or the ensemble of performers. And all the time there is a feeling that such movements and gestures are inherent in this particular choreographic hero. And then the external ugliness of the dancer (dancer) is compensated by natural and organic plastic.
So, this is a principle: the hero moves naturally, expressively and plastically, and his movements are able to convey meaning and emotion. Pina said this: "The last thing I'm interested in is how people move, I'm interested in what moves them.".
Then this is an addition to the principle: if the "internal springs of the ballet word" are clear, then it itself rises to the level of art, and the form (plastic) of movement can be any: from academic to super modern, but the main thing is that it carries meaning and is artistically convincing .
Something like a resume
Pina Bausch Ballets is going beyond the usual ballet genre, but it was made extremely talented.
Pina proved that the gesture, the movement can expressly stand next to the word. Not always, but it can.
Music in her ballets lives its organic natural life: it may sound, it may not sound, it may be contrasted to the utmost, but it always enhances and "highlights" the expressiveness of the plastic arts of the performers.
Wim Wenders put the concept of 3D in the title of the film (3-D volume), but he meant that he managed to shoot in this technique.
In a broad sense, one can probably say that the life of Pina Bausch’s ballets after her death continues in the 3rd dimension: they live in the Wuppertal theater and can “come to life” on the Internet.
Or will it already be the 4th dimension? But, most likely, it is necessary to expect that the Pina Bausch choreographic traditions will continue, because she did everything fascinating, talented and infectious. But then it will be - the 5th dimension!