Pina Bausch Biographie. Pina Bausch, geboren in Solingen, gestorben in Wuppertal, erhält ihre Tanzausbildung an der Essener Folkwang-. Die Tanztheater Wuppertal Pina Bausch GmbH verwendet Cookies, um Ihr Surferlebnis zu verbessern. Wenn Sie die Seite weiter nutzen, stimmen Sie der. Pina Bausch, eigentlich Philippine Bausch, war eine deutsche Tänzerin, Choreografin, Tanzpädagogin und Ballettdirektorin des nach ihr benannten Tanztheaters in Wuppertal. In den er-Jahren wurde Pina Bausch mit ihrer Entwicklung des.
Pina BauschPina Bauschs plötzlicher Tod vor zehn Jahren, am Juni , erschütterte nicht nur die Welt des Tanzes. Ihr Sohn Salomon Bausch. Philippine "Pina" Bausch (27 July – 30 June ) was a German dancer and choreographer who, with a blend of movement, sound, and prominent stage. Pina Bausch, eigentlich Philippine Bausch, war eine deutsche Tänzerin, Choreografin, Tanzpädagogin und Ballettdirektorin des nach ihr benannten Tanztheaters in Wuppertal. In den er-Jahren wurde Pina Bausch mit ihrer Entwicklung des.
Tina Bausch Navigation menu VideoPina Bausch Vollmond Arte 2013 06 26 Pina Bausch a German performer of modern dance, choreographer, dance teacher and ballet director. With her unique style, a blend of movements, sounds and prominent stage sets, and with her elaborate cooperation with performers during the composition of a piece (a style now known as Tanztheater), she became a leading influence since the s in the world of modern 31 pins.
She was awarded the Deutscher Tanzpreis in In , she was the recipient of the Europe Theatre Prize. She was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in Works by Bausch were staged in June and July as a highlight of the Cultural Olympiad preceding the Olympic Games in London.
The works were created when Bausch was invited to visit and stay in 10 global locations — in India, Brazil, Palermo, Hong Kong, Los Angeles, Budapest, Istanbul, Santiago, Rome, and Japan — between and Seven of the works have not been seen in the UK.
Bausch died on 30 June in Wuppertal , North Rhine Westphalia , Germany at the age of 68  of an unstated form of cancer attributable to smoking,  five days after diagnosis  and two days before shooting was scheduled to begin for the long-planned Wim Wenders documentary.
She is survived by her son Salomon. The same year, choreographer and experimental theatre-maker Dimitris Papaioannou created a piece called Nowhere to inaugurate the renovated Main Stage of the Greek National Theatre in Athens.
The show's central and most prolific scene was dedicated to the memory of Pina Bausch and involved performers linking arms and stripping naked a man and woman.
In the dance company Les Ballets C de la B performed Out of Context - for Pina , which was dedicated to Bausch's memory.
The show was directed and conceived by the company's founder Alain Platel , for whom Bausch was a friend and mentor. In the choreographer Sidi Larbi Cherkaoui and dancer Shantala Shivalingappa premiered their work 'Play', which was dedicated to Pina Bausch's memory.
Bausch was the main impetus for the piece as she had brought Cherkaoui and Shivalingappa to collaborate together in to perform for the final edition of her festival.
Wenders' documentary, Pina , was released in late in the United States, and is dedicated to her memory. Bausch's style has influenced performers such as David Bowie , who designed part of his Glass Spider Tour with Bausch in mind.
For the tour, Bowie "wanted to bridge together some kind of symbolist theatre and modern dance" and used Bausch's early work as a guideline.
Promotional trailers for the third season of American Horror Story: Coven included a clip for the episode "Detention" and were likely influenced by Bausch's work Blaubart.
Stills from the performance and the episode show a group of women seemingly defying gravity as they cling to the walls high above the ground, toes pointed down and hands pressed above them.
The photo of Bausch's performance was previously released on Reddit as well as Twitter with the implication that it was from a Russian mental institution, but its source was quickly identified.
The following table shows works since Several of Pina Bausch's works were announced as Tanzabend because she chose a title late in the development of a work.
The translations are given as on the website of Tanztheater Wuppertal Pina Bausch. Some of the German titles are ambiguous. The details about the music for the works until follow a book by Raimund Hoghe who was dramaturg in Wuppertal.
From Wikipedia, the free encyclopedia. German dancer, choreographer, dance teacher and ballet director. Pina Bausch center and Dominique Mercy second from left at the end of Wiesenland in in Paris.
Solingen , Germany. Wuppertal , North Rhine-Westphalia , Germany. Folkwangschule Juilliard School. Deutscher Tanzpreis Europe Theatre Prize Praemium Imperiale Goethe Prize Pina Bausch's Nelken Carnations , Tanztheater in Deutschland in German.
Frankfurt am Main: Propyläen Verlag. Retrieved 5 April Auf die alte, traditionelle Weise Freunde der Familien nahmen die kleine Philippine mit ins Kinderballett.
Geben wir es ruhig zu: das Bild der kleinen Philippine Bausch, wie sie — fünfjährig, sechsjährig? Harenberg, Das Buch der Frauen: Ideen, Ideale und Errungenschaften in Biografien, Bildern und Dokumenten in German.
Mannheim: Meyers Lexikonverlag. Philippine Bausch, dt. Fifty Contemporary Choreographers. Routledge Key Guides.
Born Philippine Bausch in Solingen. Germany, 27 July Studied with Kurt Jooss at the Folkwang The New York Times. Retrieved 3 July Oxford illustrated encyclopedia.
Judge, Harry George. Oxford [England]: Oxford University Press. The Independent. Equipoise:The Life and Work of Alfredo Corvino.
New York, NY: Rosen. International Movie Database. Retrieved 9 July Retrieved 11 August American Academy of Arts and Sciences. Retrieved 28 May Los Angeles Times.
Retrieved 23 January Culture Whisper. International Business Times. Retrieved 1 February Laurence Olivier Award for Outstanding Achievement in Dance.
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Her parents ran a restaurant in Solingen attached to a hotel where, along with her siblings, Pina helped out.
She learned to observe people, above all the fundamental things which drive them. The atmosphere of her early childhood seems to find an echo later in her pieces; music is heard, people come and go, and talk of their yearning for happiness.
Yet her early experience of the war is also reflected in the pieces, in sudden outbursts of panic, fear of an unnamed danger. Having already danced in the Solingen children's ballet, at fourteen Pina Bausch began studying dance with Kurt Jooss at the Folkwang School in Essen.
Jooss was a significant proponent of pre- and post-war German modern dance which had freed itself from the shackles of classical ballet. In his teaching, however, Jooss sought to reconcile the free spirit of the dance revolutionaries with the fundamental rules of ballet.
The young dance student Bausch thus acquired techniques for free creative expression as well as the command of a clear form.
The proximity of the other arts taught at the Folkwang School, including opera, music, drama, sculpture, painting, photography, design, was also an important influence on her, reflected later in the form of a wholly open approach to the media in her work as a choreographer.
In Pina Bausch was awarded the Folkwang Leistungspreis and, armed with a grant from the Deutschen Akademischen Austauschdienst German Academic Exchange Service: DAAD she spent a year as 'Special Student' at the Juilliard School of Music in New York.
The city was seen as a dance Mecca, where classical ballet was being reinvented thanks to George Balanchine and modern dance further developed.
As a dancer she worked with Paul Taylor, Paul Sanasardo and Donya Feuer. She took every opportunity to see performances and absorbed all the various tendencies.
Enthused by the diversity of cultural life in New York, she remained for a further year. Now, however, she was obliged to finance her stay and found employment with Antony Tudor at the Metropolitan Opera.
In her later work her affinity to opera and her respect for musical tradition was to play a equal role to, for instance, her love of jazz.
The distinction between 'serious' and 'popular' music, still firmly upheld in Germany, was of no significance to her. All music was afforded the same value, as long as it expressed genuine emotions.
Two years after she had left for New York Kurt Jooss asked her to return to Essen. He had succeeded in re-invigorating the Folkwang Ballet, subsequently re-named the Folkwang Tanzstudio.
Pina Bausch danced in works by Jooss, both old and new, as well as assisting him with choreography. As the Folkwang Tanzstudio needed new pieces, she began to choreograph independently and created works such as Fragment or Im Wind der Zeit In the Wind of Time , for which she was awarded first prize at the International Choreographic Workshop of in Cologne.
She created her first works in Wuppertal as guest choreographer, performed with members of the Folkwang Tanzstudio: Aktionen für Tänzer Actions for Dancers in and the Tannhäuser Bacchanal in In the director of the Wuppertal theatres Arno Wüstenhöfer appointed her head of the Wuppertal Ballet, which she soon renamed the Tanztheater Wuppertal.
The description Tanztheater, or dance theatre, originally used by Rudolf von Laban in the s, is a statement of intent; it stands for an emancipation from mere balletic routines and the complete freedom to chose one's means of expression and Pina Bausch now developed several new genres in quick succession.
With the two Gluck operas Iphigenia in Tauris and Orpheus and Eurydice she created the first dance operas. Her choreography for Igor Stravinsky's Le Sacre du printemps was to become a milestone; the emotional force and unmediated physicality of the piece became trademarks of her work.
From Kurt Jooss she had learned 'honesty and precision'. Bausch demonstrated both these values, unleashing dramatic energy of a kind never seen before.
In the early Wuppertal years this lead to consternation among press and public. The confrontation with the true motives behind human movements was painful.
The second part, collaged freely together, with both men and women wearing female clothes as Bausch plays with entrenched gender-role conventions, is both entertaining and funny.
In Pina Bausch changed her working methods. Invited by the director of the Bochum theatre Peter Zadek to create her own version of Shakespeare's Macbeth, she found herself in a difficult situation.
A large portion of her ensemble no longer wished to work with her as there was little conventional dancing in her pieces. She thus cast the Bochum guest performance with just four dancers, five actors and a singer.
With this cast she was unable to deploy choreographic steps and so began by asking her performers associative questions around the themes of the play.
The result of this joint investigation was premiered on 22 April in Bochum under the lengthy title Er nimmt sie an der Hand und führt sie in das Schloss, die andern folgen He takes her by the hand and leads her into the castle, the others follow and was almost drowned out by the storm of protest from the audience.