Ackerman, dean of the Goethe Institute in Beijing, believes that "she gave the Germans pride, and the Germans after World War II could not recognize their identity alone; At this moment, we proudly say' I am German', which has a lot to do with Bosch in Pi Na. "
From September 20th to 23rd this year, at the invitation of the Central Ballet and the Goethe Institute (China), she will lead her Uppertal Dance Company to make its debut at the Beijing Tianqiao Theatre, with the tracks "Sacrifice of Spring" and "Mueller Coffee House".
Pina bausch and her dance theater.
For most people in China, the name of Bosch in Pi Na is obvious. The 67-year-old artist has been to Japan, Hongkong and Taiwan Province Province, but his wish to perform in mainland China has only been realized for several years and several times.
If we want to recall the segment that impressed her the most from China, we have to mention Almodova's Spanish film Tell Her. At the beginning of the film, a woman dances on the tables and chairs in the cafe in Poucel's Let Me Cry. This woman is Pi Na Bosch, and her work is the Mueller Cafe, which will be performed in Beijing.
Pina bausch is a benchmark figure of modern dance in German and even in the world. In his early years, he took over solid classical ballet practice and then went to new york to study modern dance. After returning to Germany in June, he joined the world-famous Essen Dance Company founded by the German implicit master to perform and create works.
In July of last century, a kind of performance form "Dance Theater" which combines dance and drama appeared in Germany. 1973, Pi Na Bosch established his own "Upper Dance Theater". In the following decades, she created dozens of large-scale works, among which the representative works are: Sacrifice to Spring, Blue Beard, Muller Coffee House, etc., which established her leading position in the "Dance Theatre". The word "dance theater" was first used by Courteus, a teacher in Bosch, Pi Na, in the 20th century, aiming at creating a dance that is connected with classical ballet and new dance and can perfectly express the plot. However, pina bausch put forward a new concept of "dance theater", which deeply influenced the world dance and drama circles, and even shocked the whole skill theory circle.
Dialogue with pina bausch
Off stage, Pi Na Bosch washed away all the lead. At the age of 67, she showed great nobility in her gestures, especially when she lit a cigarette inadvertently, which was very elegant.
At first, she always sat solemnly and silently, but when it comes to dancing, she began to speak in Kan Kan. That is, the song "Sacrifice of Spring" more than 20 years ago, in her view, has new ideas. "Every performance is a new test. For the ugly audience, watching each of our performances is an unparalleled encounter. "
Reporter: What is the "dance theater" in your understanding?
Pi Na: Isn't the dance theater traditional? Hey? Dance, on the contrary, is to give dancers a stage to express themselves, express themselves with their bodies, use various most eloquent ways, and even collect words. Dance theater is not a traditional ballet, but a daily tool, which expresses not the passion of "private" or "me", nor the traditional repertoire of princes and princesses, but "us". For example, when we are moved, we can show it directly through the process dance, because moving ourselves is dynamic and rhythmic. People will have the desire to express, not necessarily the desire to speak. And people will be moved by the dance theater, which will move them with the possibility of "moving".
Reporter: The play you brought this time, which premiered in July, 1970, will make the unsightly audience feel a bit outdated?
Pi Na: I don't think it's out of date, because "Old Play Bone" is still developing and changing, and it is a part of our whole work. Song of Sacrifice to Spring is Stravinsky's work, which is inevitably endowed with the theme of music, and we are inevitably restricted. Mueller Cafe is different. It uses the works of Baroque musician Poucel, which is different in spirit, so we should double our freedom. There are many dancers in the Sacrifice of Spring, full of strength and passion, highlighting emotions, themes and moments. The "Mueller Cafe" was divided, with only six dancers and indescribable tools. The ugly audience only needs to project the main tools they feel. There is nothing wrong with counting these two works as old works. They are always the latest works and always changing.
Reporter: Have you ever worried about the takeover ability of an unattractive audience?
Pi Na: An unattractive audience should project their main tools back into their works and read their own understanding. I think an unattractive audience needs to think for themselves, and no one else can replace it. But I still want to be famous: The Mill Coffee House implies alienation and aloofness, as well as the sadness and hope of love. I still hope that everyone will not think about it, just feel infected. An unattractive audience is part of a ballet.
Reporter: What are your artistic aesthetic principles?
Pi Na: I don't have any aesthetic principles. If it is not beautiful, I have to remove all aesthetic principles. Every performance is a sincere adventure. When you look at the beauty, people are free to think and have no fixed principles. Of course, I always insist that people don't think about it when they are not beautiful, but feel infected. I will also count myself as an ugly audience in the process of directing, and I will feel deeply infected myself. The ugly audience is beside my performance, not passive, but part of the work. The relationship between the audience and the dancers is not simple. The unsightly audience of each performance has different emotions. For example, some unsightly audience may just be in love. I don't want to give a specific emotion, but I want people to interact. What can the dancer's action details evoke? What passion will the unsightly audience be driven in the process of unsightly and watching? These are all my pursuits. The only discipline (by old partner Peter Baxter) is to remove all decorative tools that are considered beautiful.
Reporter: Please talk about the influence of dancing beauty on your work.
Pi Na: Beautiful design is very important. Given that the dancers are dancing? Situation, this situation also brings attraction besides induction. Dance beauty is not a simple decoration, but a sense of space, which affects the dancers' behavior. In cooperation with many cities, our understanding of the beauty of dance has doubled. I quite agree with my designer Paster. He believes that dance beauty is an unrepeatable opportunity between people on and off the stage in an extraordinary moment and space, and every dance beauty design is a part of a performance. And I often feel that our dancers are full of courage, because our dance beauty design will give some different designs, such as spreading carnations on the stage and sprinkling 10 tons of salt on the stage. Although it will cause great hardship to the dancers, it has not been scared off for a long time.