Læsetid: 4 min.

Himlen over Pina

Wim Wenders’ dansehyldest til koreografen Pina Bausch er en dybtfølt film om at blive set. Med en skønhedslængsel i 3D, der sætter sig i tilskuerens krop, så lårene helst bare vil sætte af fra sædet og flyve med ind i lærredet
Kropsligt. Billederne i ’Pina’ er vidunderligt vanvittige i deres gennemført umulige æstetik. For det er lykkedes for Wim Wenders at skabe et portræt af dansens verden, så tilskueren selv investerer sin krop i oplevelsen undervejs gennem filmen. Også den tilskuer, der aldrig før har hørt om Pina Bausch.

Kropsligt. Billederne i ’Pina’ er vidunderligt vanvittige i deres gennemført umulige æstetik. For det er lykkedes for Wim Wenders at skabe et portræt af dansens verden, så tilskueren selv investerer sin krop i oplevelsen undervejs gennem filmen. Også den tilskuer, der aldrig før har hørt om Pina Bausch.

12. januar 2012

»Et øjeblik af vægtløshed.« Sådan beskriver en af Pina Bauschs dansere den gave, hun vil forære sit livs inspirator i Wim Wenders nye dokumentarfilm Pina: Hun vil danse for hende.

Ude på en enorm græsplæne løber hun hen mod en række stole. Så springer hun op på den første stol med en fod på ryglænet, så stolen vipper og vælter. Højt over hende rejser der sig en gammel bro i en enorm bue. Og straks sætter oplevelsen af vægtløshed sig i tilskuerens krop med den slags skønhed, som er Wim Wenders’ helt egen: den tyste skønhed.

Længsel i 3D

Pina virker faktisk som en Himlen over Berlin 2. For Pina er en film om det vigtigste i livet: om evnen til at se andre mennesker og om selv at blive set. Vel at mærke skabt som et lyrisk sorgportræt over Pina Bausch, der pludselig døde i 2009 som 68-årig -efter et intenst liv som danser og koreograf og leder af Tanztheater Wuppertal Pina Bausch siden 1972. Og efter et nært venskab med den fem år yngre Wim Wenders.

Filmen bliver bogstaveligt talt til en ’Himlen over Wuppertal’, for Wenders har filmet danserne rundt omkring i Wuppertal — ikke mindst fra den højmetro, der skærer sig gennem byen i fuglehøjde.

Dans er svær at filme. Dansens lækre overflade er let at fange, men dansens fysiske kvalitet forsvinder nemt, når den skal fæstnes på det flade filmlærred og herfra fanges ind af tilskuerkroppen. Så hvad gør Wim Wenders med dette kropslighedsdilemma?

Hånden mod bødlen

Han leger med 3D — underdrevet og sublimt. Netop ved brug af 3D-effekten trækker han tilskueren med ind blandt de dansende kroppe, så tilskuerkroppen selv kan mærke trangen til at sætte af og dreje rundt. Et sted lader Wenders endda flabet et forhæng glide ned mellem tilskuerrækkerne, så trangen til at være med på den rigtige side sammen med danserne føles endnu stærkere: tag mig med!

Alligevel er Wim Wenders modigst i filmens lange dansesekvenser. For her findes kun dansen selv. Ingen overformidling, ingen skamklipning. Kun dansen i den tid, den nu engang varer. Og derved glider tilskueren med ind i danseruniversets logik, hvor alt skal udtrykkes gennem kroppen.

Særligt Pina Bauschs fortolkning af Le Sacre du printemps til Stravinskijs vilde musik bliver en heftig introduktion til Pina Bauschs barske verden af vellyst og smerte. En gruppe kvinder stirrer på en gruppe mænd. En mand træder frem som bødlen. Alle dunker fødderne i den bløde muldjord, så deres kroppe gungrer. Men hvorfor rækker offerkvinden hånden med den røde kjole frem mod bødlen? Mon hun ofrer sig af lystfyldt nysgerrighed eller af opgivende dødsangst? Det siges ikke. Alt er op til tilskueren selv at fortolke.

Langt hår og biceps

Filmen er overlegent selektiv. Ud af Bauschs enorme repertoire inddrages kun fire balletter. Her er således hverken kendingsballetten Blaubart fra 1977 med voldtægtsmanden, der lytter til opera, eller Nelken fra 1982 med de tusinder af nelliker på scenen. Alligevel udkæmpes de Pina-typiske kønskampe mellem manden som den stærke og kvinden som offer. Men også mellem kvinden som den hemmelighedsfulde og manden som den ensomme.

Hos Pina Bausch findes begrebet unisex ikke. Kvinder har langt hår og går i løse kjoler, hvor brystvorterne stritter. Og mænd har nøgne overkroppe med muskler og spændte blodårer og stramme bukser. Sådan er det bare. Og alle kroppe skal rase mod elementerne — mod jorden, mod klipperne og mod vandet. Helst mens dalende minimalismetoner tvinger kroppene nedad ... For Pinas sansekaos har sin egen orden — dén Pina-orden, som de toneangivende, tyske teaterinstruktører i dag så tydeligt står i gæld til.

En verden uden ord

Som dokumentarfilm betragtet er Pina vidunderligt renfærdig. Her kommer alle til orde. Danserne sidder endda én for én fortæller om Pina på hver deres mange sprog. Ofte tøvende — som om ord ikke havde noget med Pina at gøre. I Pinas verden blev alt da også udtrykt gennem kroppen. En af danserne forklarer, at Pina egentlig kun sagde én særlig ting til hende i løbet af de 20 år, hvor de arbejdede sammen.

Netop gennem sådanne groteske detaljer undgår Wim Wenders den patos, der ellers presser sig på i denne type filmhyldest. Og så trækker han de ideale danserkroppe ned på jorden. De er alle sammen umanerligt skønne at se på. Men kameraet får efterhånden tilskueren til at værdsætte både de spændstige dansere i 20’erne og de mere facetterede dansere med de brugte kroppe i 30’erne, 50’erne og 70’erne.

Wim Wenders vender igen og igen tilbage til ét særligt billede: Til rækken af Pina Bausch-danserne, der knytter hænderne og ryster dem indædt, mens de spadserer på styltehøje hæle og i nydelige jakkesæt — et sted ude i blæsten langs kanten af en uendelig grusgrav. Og mens de smiler.

Sådan har man det også, når man forlader biografen efter at have set Pina: Man knytter hænderne og ryster dem, mens man smiler. Af taknemmelighed.

 

Pina. Instruktion og manuskript: Wim Wenders. Tysk (Grand og Empire)

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ulla enevoldsen

Undrer mig over denne anmeldelse. Der er intet mainstream over Pina Bausch, heller ikke kønsmæssigt. Mænd danser i kjoler, ser ud på alle tænkelige og mærkelige måder (kvinder er gamle, unge, kiksede, i mange former). Bausch præsenterer netop et alternativ til det (køns)stereotype udtryk, der normalt ses i meget dans.
P.B. leverer noget helt andet, skønt, men også foruroligende, læs f.eks. denne beskrivelse, eller SE filmen igen.....
Gale Encyclopedia of Biography:
Pina Bausch
The most controversial dancer/choreographer of her era was Pina Bausch (born 1940). She created the "Theatertanz", an approach to dance expression, which became a trend.

Born July 27, 1940, in the industrial city of Solingen in Germany, Pina Bausch once said, "I am no one's pupil." She began her studies at the age of 14 under the direction of Kurt Jooss at the Folkwang School, from which she graduated in 1959. Jooss was one of the most outstanding teachers and choreographers of the pre-Hitler period, a liberal mind, as demonstrated by his work The Green Table, an antiwar memorial. His spirit must have greatly influenced Bausch's development.

The second great influence came from the city of New York where she landed at the age of 19. She was one of few German dance students to go abroad on an academic scholarship and came to New York through the German American Exchange Program for the USA. She studied at the Juilliard School of Music with such teachers as Louis Horst, Josea Limogn, Paul Taylor, and Antony Tudor and danced with the Paul Sanasardo and the Danya Feuer Dance Company. She became a member of the New American Ballet and the Metropolitan Opera Ballet. But it was the city itself, its multifaceted life, that strongly impressed Bausch. She felt that the direction of her future life was determined in the two years of her stay in that city. "New York is like a jungle, but at the same time it gives you a feeling of total freedom. In these two years I have found myself."

Bausch returned to Germany in 1962, and became principal dancer with the newly founded Folkwang-Ballett. In 1968 she began choreographing for the Folkwang-Ballett and the following year undertook leadership of that company. In 1973, she went to Wuppertal and founded Tanztheater Wuppertal, for which she has created nearly 30 full-length productions. She had her dancers voice words, gibberish or small talk, as in her piece Waltz. In her stage designs, too, she often used seemingly outlandish and impossible ideas and gadgets to make her point visually, as in her highly dramatic version of The Rite of Spring. In this piece she covered the entire stage with peat so that one could not only see and hear but also smell the earthiness which characterized this production.

She soon became convinced that art must be a vehicle for social criticism; it must never be a mere means to beautify life. She was never interested in telling a dramatic or pretty story embellished with yesteryear's ornaments. Hers were not stories told, but experiences staged. Her works were not psychodramatic or physically poetic. Whatever she tried to convey she lifted out of any personal context and mostly gave it a sociopolitical meaning. Her choreographic approach was psychological only in as much as it emerged from the depth of her (and her dancers') being. Thus, the artistic Gestalt of her creations attained universal validity.

Like Bertolt Brecht, Bausch wanted her spectators to think about what they saw and heard and to draw their own conclusions. She expected a verdict of condemnation for many of life's injustices, especially those suffered by women. On stage, if not quite in life, she became a feminist activist. She defended the female against the male, since, in her eyes, the male was an aggressive part of society.

In her dance works she overcame technical and conceptual boundaries. The forcefulness of her appearance on the international dance scene was exemplary, inspiring many other choreographers in Europe. Her greatest deed was to have found a new original dimension in the art of dancing, breaking through all barriers of what was known until then as postmodern, using all theatrical and dramaturgic means to enforce an idea - which, in turn, also influenced the European theater, opening the way for a new movement quality on stage.

Bausch mainly worked in a spirit of defiance or out of a mood of defense, thereby creating unexpected contrasts. In concepts and gestures she could become aggressive to the point of arousing rejection from the onlooker. But she did not mind alienating part of her audience if she could only arouse anger and protest. She made this clear when she said: "It is almost unimportant whether a work finds an understanding audience. One has to do it because one believes that it is the right thing to do. We are not only here to please, we cannot help challenging the spectator."

This thought was magnified as the reality of her creative efforts, and her rich repertory proved her philosophy of life. Come, Dance With Me, for instance, searches for human happiness in a sea of futility. There is also no end to frustration in her Bluebeard. Symbolically, it takes place in a room covered by dead leaves. Male and female dancers incessantly reach out for each other, but their attempts at embracing and caressing make it painfully clear that there is no real communication. It is an impressive work, questioning the old clichéa about love and demonstrating our desperate craving for it. For Nelken, Bausch covered the floor with pink carnations. For Palermo, Palermo, it was rubble.

Café Muller, set to music by Henry Purcell, is a story of alienation and loneliness, although it contains no actual plot. Bausch was a master in dramatizing the monotony of everyday life. On a stage filled with chairs, one woman dresses and undresses uninterruptedly; a couple kisses and argues incessantly; a man enters and exits, making sexual advances toward both sexes; another couple bash each other against the wall, while another figure remains totally immobile in the background. Nothing else happens, but we are painfully reminded of the realities of life. Her Rite of Spring is shaped out of horror, out of dark despair; the sacrifice of the virgin for the coming of spring has a feel of earthiness and the brutal truth that we pay for life with death.

Nur Du (Only You), Bausch's interpretation of the American West, was her first site-specific work created outside Europe and came about after her visits to California, Arizona and Texas. The $1.2 million project was co-commissioned by Cal Performances at UC Berkeley (where the work premiered), UCLA's Center for the Performing Arts, James Doolittle's Southern California Theatre Association, the Music Center of Los Angeles County, the University of Texas Performing Arts Center and Arizona State University Public Events. With a background of giant redwoods, Nur Du was set to the sounds of rhythm and blues, jazz, New Age, Latin jazz and pop and 50s ballads. "The U.S. premiere of Nur Du is three-plus hours of nonlinear neo-Expressionism, powered by brilliant dancing, " Lewis Segal (Los Angeles Times, October 5, 1996).

The Window Washer, co-produced by the Goethe-Institut Hong Kong and the Hong Kong Arts Festival Society, premiered in 1997. In late 1996, Bausch brought 29 dancers from 14 countries to Hong Kong for three weeks to absorb the atmosphere and culture, then returned to Wuppertal to create the piece. As reported by Paul Moor/Wuppertal in Time, "Given that Bausch's favored style is collage, the piece immediately latches onto the disorderly picture that the city initially presents: she strings together snapshots - a man having his torso sponged and hair blowdried, a woman firing off hilarious deadpan monologues at the audience, another man pulling mock snakes from the flowers with chopsticks and, later skiing down the crimson hill. By contrast, the conclusion comes off as blatantly metaphorical, as the dancers methodically climb the Red mountain one-byone before exiting."

Bausch's work tries to mirror the various stations of our existence in pantomime and danced images supported by music and the spoken word. It is a long path of passion from Wuppertal to Gethsemane. There are also a few light moments in her work, but many more moments in which to pause and gaze in silent amazement at a lost world which cannot find itself.

Gale Encyclopedia of Biography:
Pina Bausch

The most controversial dancer/choreographer of her era was Pina Bausch (born 1940). She created the "Theatertanz", an approach to dance expression, which became a trend.
Born July 27, 1940, in the industrial city of Solingen in Germany, Pina Bausch once said, "I am no one's pupil." She began her studies at the age of 14 under the direction of Kurt Jooss at the Folkwang School, from which she graduated in 1959. Jooss was one of the most outstanding teachers and choreographers of the pre-Hitler period, a liberal mind, as demonstrated by his work The Green Table, an antiwar memorial. His spirit must have greatly influenced Bausch's development.
The second great influence came from the city of New York where she landed at the age of 19. She was one of few German dance students to go abroad on an academic scholarship and came to New York through the German American Exchange Program for the USA. She studied at the Juilliard School of Music with such teachers as Louis Horst, Josea Limogn, Paul Taylor, and Antony Tudor and danced with the Paul Sanasardo and the Danya Feuer Dance Company. She became a member of the New American Ballet and the Metropolitan Opera Ballet. But it was the city itself, its multifaceted life, that strongly impressed Bausch. She felt that the direction of her future life was determined in the two years of her stay in that city. "New York is like a jungle, but at the same time it gives you a feeling of total freedom. In these two years I have found myself."
Bausch returned to Germany in 1962, and became principal dancer with the newly founded Folkwang-Ballett. In 1968 she began choreographing for the Folkwang-Ballett and the following year undertook leadership of that company. In 1973, she went to Wuppertal and founded Tanztheater Wuppertal, for which she has created nearly 30 full-length productions. She had her dancers voice words, gibberish or small talk, as in her piece Waltz. In her stage designs, too, she often used seemingly outlandish and impossible ideas and gadgets to make her point visually, as in her highly dramatic version of The Rite of Spring. In this piece she covered the entire stage with peat so that one could not only see and hear but also smell the earthiness which characterized this production.
She soon became convinced that art must be a vehicle for social criticism; it must never be a mere means to beautify life. She was never interested in telling a dramatic or pretty story embellished with yesteryear's ornaments. Hers were not stories told, but experiences staged. Her works were not psychodramatic or physically poetic. Whatever she tried to convey she lifted out of any personal context and mostly gave it a sociopolitical meaning. Her choreographic approach was psychological only in as much as it emerged from the depth of her (and her dancers') being. Thus, the artistic Gestalt of her creations attained universal validity.
Like Bertolt Brecht, Bausch wanted her spectators to think about what they saw and heard and to draw their own conclusions. She expected a verdict of condemnation for many of life's injustices, especially those suffered by women. On stage, if not quite in life, she became a feminist activist. She defended the female against the male, since, in her eyes, the male was an aggressive part of society.
In her dance works she overcame technical and conceptual boundaries. The forcefulness of her appearance on the international dance scene was exemplary, inspiring many other choreographers in Europe. Her greatest deed was to have found a new original dimension in the art of dancing, breaking through all barriers of what was known until then as postmodern, using all theatrical and dramaturgic means to enforce an idea - which, in turn, also influenced the European theater, opening the way for a new movement quality on stage.
Bausch mainly worked in a spirit of defiance or out of a mood of defense, thereby creating unexpected contrasts. In concepts and gestures she could become aggressive to the point of arousing rejection from the onlooker. But she did not mind alienating part of her audience if she could only arouse anger and protest. She made this clear when she said: "It is almost unimportant whether a work finds an understanding audience. One has to do it because one believes that it is the right thing to do. We are not only here to please, we cannot help challenging the spectator."
This thought was magnified as the reality of her creative efforts, and her rich repertory proved her philosophy of life. Come, Dance With Me, for instance, searches for human happiness in a sea of futility. There is also no end to frustration in her Bluebeard. Symbolically, it takes place in a room covered by dead leaves. Male and female dancers incessantly reach out for each other, but their attempts at embracing and caressing make it painfully clear that there is no real communication. It is an impressive work, questioning the old clichéa about love and demonstrating our desperate craving for it. For Nelken, Bausch covered the floor with pink carnations. For Palermo, Palermo, it was rubble.
Café Muller, set to music by Henry Purcell, is a story of alienation and loneliness, although it contains no actual plot. Bausch was a master in dramatizing the monotony of everyday life. On a stage filled with chairs, one woman dresses and undresses uninterruptedly; a couple kisses and argues incessantly; a man enters and exits, making sexual advances toward both sexes; another couple bash each other against the wall, while another figure remains totally immobile in the background. Nothing else happens, but we are painfully reminded of the realities of life. Her Rite of Spring is shaped out of horror, out of dark despair; the sacrifice of the virgin for the coming of spring has a feel of earthiness and the brutal truth that we pay for life with death.
Nur Du (Only You), Bausch's interpretation of the American West, was her first site-specific work created outside Europe and came about after her visits to California, Arizona and Texas. The $1.2 million project was co-commissioned by Cal Performances at UC Berkeley (where the work premiered), UCLA's Center for the Performing Arts, James Doolittle's Southern California Theatre Association, the Music Center of Los Angeles County, the University of Texas Performing Arts Center and Arizona State University Public Events. With a background of giant redwoods, Nur Du was set to the sounds of rhythm and blues, jazz, New Age, Latin jazz and pop and 50s ballads. "The U.S. premiere of Nur Du is three-plus hours of nonlinear neo-Expressionism, powered by brilliant dancing, " Lewis Segal (Los Angeles Times, October 5, 1996).
The Window Washer, co-produced by the Goethe-Institut Hong Kong and the Hong Kong Arts Festival Society, premiered in 1997. In late 1996, Bausch brought 29 dancers from 14 countries to Hong Kong for three weeks to absorb the atmosphere and culture, then returned to Wuppertal to create the piece. As reported by Paul Moor/Wuppertal in Time, "Given that Bausch's favored style is collage, the piece immediately latches onto the disorderly picture that the city initially presents: she strings together snapshots - a man having his torso sponged and hair blowdried, a woman firing off hilarious deadpan monologues at the audience, another man pulling mock snakes from the flowers with chopsticks and, later skiing down the crimson hill. By contrast, the conclusion comes off as blatantly metaphorical, as the dancers methodically climb the Red mountain one-byone before exiting."
Bausch's work tries to mirror the various stations of our existence in pantomime and danced images supported by music and the spoken word. It is a long path of passion from Wuppertal to Gethsemane. There are also a few light moments in her work, but many more moments in which to pause and gaze in silent amazement at a lost world which cannot find itself.

Read more: http://www.answers.com/topic/bausch-pina#ixzz1lhC8chs5