Study #8

Philippine (Pina) Bausch was born in Solingen, Germany in 1940. She grew up dancing classical ballet and would begin choreographing for the Folkwang-Ballett in the late 1960s before becoming the director of the Tanztheater Wuppertal in 1973. She is known for her daring choices, strong technique, theatricality and humor.

Rite of Spring, 1984 — *Rite of Spring*, 1984

Pina’s process of choreography was unorthodox and began with a series of questions she posed to the dancers in order to create something from scratch. She didn’t allow music to be introduced until the very end (preferring that the dancers work off their own musicality), and opened each performance with the title of Tanzabend (Evening of Dance) to give her ample time to properly title them.

Tanzabend ll, 1991 — *Tanzabend ll*, 1991

Pina presented an all-encompassing style of performance known as ‘dance theater,’ where the performers would sing, dance, act and even break the fourth wall to interact with the audience. This radical step away from classical dance confused and even infuriated audiences for years.

During rehearsals for 1977’s controversial Blaubart (Bluebeard) the company’s orchestra disliked the direction Pina was taking so much they refused to participate. This prompted the use of a mobile tape recorder which the dancers had to pause, rewind, and speed up themselves which inadvertently added an integral element to the dance.

Nelken (Carnations), 2005 — *Nelken (Carnations)*, 2005

Pina worked with Rolf Borzik, and later Peter Pabst, to create unconventional sets that used natural materials to bring the outside world inside the theatre. They often employed the use of water, peat, and animals to enhance the surreal moods.

“I’m not interested in how people move but what moves them.”

Ein Stück von Pina Bausch.