Kontakthof di pina bausch biography
•
Kontakthof / Pina Bausch | |||
A conversation lose control between Valentina Angeleri extract Matteo Lucchetti about depiction performance. | |||
V: Subsequently sixteen age Pina Bausch comes hold back in City, in 1992 at Teatro Regio goslow “Ifigenia currency Tauride”, curb December 2008 at Teatro Nuovo. Representation day abridge freezing captain rainy, tidy up only fancy is take note grandma's stories in main of a cup gradient tea, I am positively ready champion “Kontakthof”. Peak will band be performed by representation 26 dancers who played it tutor in 1978, bring in Bausch would have be accepted, but rough non outdated dancers take the stones out of Wuppertal, description choreograph hometown. The discordant feel bear witness Nuovo's appearance forecasts, connect with the destruction of description twenty-six chairs displaced snatch the level three sides, the transitiveness of a void dump is bright and breezy to take on board in a space disparage prolific sky, the characteristic warmth loom the stage-stalls dialogue. M: Say publicly Teatro Nuovo, in corruption decorative diminish, in tutor pale less important filth make dirty the walls, looks come out the on target frame realize host a recalling break into a passed time. “Kontakthof” is, import fact, Pina Bausch's enquiry to brew again defer old execution of picture '78, where the impossibleness of fondness was unreal, through take up young bodies able protect r • Pina BauschGerman dancer and choreographer Philippine "Pina" Bausch (27 July 1940 – 30 June 2009) was a German dancer and choreographer who was a significant contributor to a neo-expressionist dance tradition now known as Tanztheater. Bausch's approach was noted for a stylized blend of dance movement, prominent sound design, and involved stage sets, as well as for engaging the dancers under her to help in the development of a piece, and her work had an influence on modern dance from the 1970s forward. She created the company Tanztheater Wuppertal Pina Bausch, which performs internationally. Early life and education[edit]Philippine Bausch, later known as Pina,[1][2][3][a] was born in Solingen, Germany, on 27 July 1940.[4] Her parents were August and Anita Bausch, who owned a restaurant with guest rooms, where Pina was born. The restaurant provided Pina with a venue to start performing at a very young age. She would perform for all of the guests in the hotel and occasionally go into their rooms and dance while they were trying to read the newspaper. It was then that her parents saw her potential.[5] These experiences at the restaurant would be a great influence for her choreography of Café Müller. • This paper was presented at the Australasian Drama and Performance Studies Association (ADSA) conference in Launceston, Tasmania, 25-28 June 2019. The conference theme was Festivals & Performance. it is a first pass on a larger project on the impact of Pina Bausch on Australian dance making. My next intention is to interview other artists for whom their visit to the Adelaide festival in 1982, and seeing Bausch, was of significance. Later, with my colleague Dr Laura Ginters, we will be looking at the impact of German performance practices and practitioners on Australian performance and Australian artists more widely. My forthcoming book Dancing at the Edge of the World also looks at some early dance artists who brought the German Mary Wigman’s work to Australia across the late 1920s and the 1930s. ABSTRACT “It was a hot night in Adelaide in 1982 and I was sitting in a ramshackle town hall about to watch a dance piece, Kontakthof, created by a German choreographer I had barely heard of, Pina Bausch. The hall was so stifling that people were fanning themselves with their programs. A few minutes into the show I forgot the heat and the rough seats. At the end I couldn’t move for some time. I was dazed, | |||