Kontakthof with Ladies and Gentleman Over 65 - a Piece by Pina Bausch Pdf

FREE KONTAKTHOF WITH LADIES AND GENTLEMAN OVER 65 - A PIECE BY PINA BAUSCH PDF

It is placed in a set that looks almost like a city hall, classroom or a dated dancehall, with curtains and an upright piano on stage. They confront the audience as though there is a mirror in front of them, and check their teeth, show their hands, smooth their dresses and try to look as attractive as they can. One man chases a woman and throws a rat at her several times. One woman asks someone in the audience for coins and rides a rocking horse. Two women in pink dresses dance around like angels. Women roll Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch on the floor, shouting. All the performers sit down in line and talk about their first love in their native languages. A woman teaches a man how to grind, twisting his hips and his waist. Occasionally, an intimate moment turns into sexual violence — however hard they wish to communicate to each other, they cannot always connect emotionally. Their longing for contact, mutual connections, and relationships is quite overwhelming. But as you are watching the many things happening on stage, you find a character that seems to reflect yourself, or get the intimate feeling that the performer is your friend. We begin to imagine what kind of life they have lived, what makes them do things and why they want to build a relationship so badly. Thus we begin to connect with our personal memories and feelings. Not everything happening on stage is pleasant, although many humorous situations occur. Sometimes ruthless violence happens, and you can see how cruel a person can be while they strive to get what they want. But as the performance goes on, emotional bliss blankets our minds. As all the dancers walk in line, stretching their arms uniformly with the exception of one ladywe recognize their diversity, these men and women of different Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch, heights and ethnicities. Each of them is different, but they all share the desire to connect and touch people. One of the loveliest moments in this work of almost 3 hours long is when the curtain opens and the performers turn their backs to the audience to watch a documentary movie on wild birds. They look as though they are young students in classrooms, in high spirits as they watch but melancholic when they disband. But then, in the end they Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch slowly march in circles, showing that life goes on for everyone. Kontakthof is now 35 years old, but it has become a timeless classic with its omnipresent theme — its novelty is fresh even now, 5 years after Bausch's sudden death. No wonder it has been reimagined. Our privacy policy was last updated on Friday 31 January View it here Dismiss. Twitter Google Facebook. Remember me Sign in Lost password? Register with email address. Events Reviews Articles Video. By Naomi Mori26 March See full listing. Tanztheater Wuppertal. A beautiful performance worth quarantining for as Latvia leads the charge to preserve art and culture. Pacific Northwest Ballet's Rep 1 delivers a magnificent first installment of their virtual season. Read reviews of. Tanztheater Wuppertal Kontakthof. Related articles. The sound of science: Super Angelsthe android opera. The wonder of Tokyo and beyond: classical music, opera and dance in Japan. Naomi Mori. Naomi is a blogger living in Tokyo and travels frequently to see ballet. She blogs at La Dolce Vita in Japanese. All rights reserved. Click here for conditions of use. Kontakthof: Tanztheater Wuppertal Pina Bausch in Saitama, Japan | Bachtrack

A group of people take their chairs to the front of the stage, where they sit talking to the audience. A man passes along the line with a microphone, individual voices spring out of the babble. They're all describing romantic encounters: the horror of a date with spinach in his teeth, the excitement of a new partner, an embarrassing pet name. Many of the stories are funny. Most are cut off mid-sentence, individual experience becoming a chatter of human need. Pina Bausch, who died last year, was one of the 20th-century's most influential choreographers. Her tanztheater, which uses speech and movement as much as dance, is a surreal depiction of often neurotic human behaviour. Her theatrical imagery is powerful, her shows often sprawling, aggressively long. In memory of Bausch, the Barbican has presented two versions of her show, Kontakthof. They have the same steps, the same material, but one is danced by a cast of teenagers, the other by "ladies and gentlemen over 65". The run opened with the older cast — like the teenagers, drawn from the local people of Wuppertal, where Bausch's company is based. Kontakthof means contact hall, a meeting place. Rolf Borzik's set suggests a dance or village hall, with panelled walls, a curtained platform, a piano and lines of chairs. The people could be meeting for a dance, though their behaviour soon gets weirder. The cast wear suits or evening dresses. The women's satin frocks, suggest the s, like the old songs played as a soundtrack. One by one, dancers come to the front, where they pose, turn, bare their teeth or hold their hands out, as if for inspection. Given that one of the women goes on to complain about bad or spinach-strewn teeth, the checkup may be needed. In pairs, they introduce each other, gesturing like magician's assistants, then hit or prod each other. Each small cruelty is applauded by the rest of the cast, waiting on their chairs. A lot of the behaviour is childish: a man chasing a screaming woman with a toy mouse, playground bitching about other cast members. By casting older performers, Bausch stresses the undignified behaviour. Even as they throw tantrums, their age makes them seem more vulnerable. Kontakthof mines traditional Bausch territory, but it's unusually funny. One dancer wheedles coins from the audience, because she wants to ride a mechanical horse. Bitchy remarks are sharply delivered. There are weighted dance scenes, the company striding into patterns or stopping to argue about them. At three hours, though, this is a long show. Bausch often used repetition to emphasise how trapped her characters were, stuck in Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch patterns. The characters of Kontakthof are more free — they do actually have a good time, between bursts of cruelty Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch pain — but the pacing is heavy. Still, it's a distinctive work by an imposing 20th-century artist, performed with absolute commitment. You can find our Community Guidelines in full here. Want to discuss real-world problems, be involved in the most engaging discussions and hear from the journalists? Start your Independent Premium subscription today. Independent Premium Comments can be posted by members of our membership scheme, Independent Premium. It allows our most engaged readers to debate the big issues, share their own experiences, discuss real-world Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch, and more. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. The most insightful comments on all subjects will be published daily in dedicated articles. You can also choose to be emailed when someone replies to your comment. 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Philippine " Pina " Bausch [1] [2] [3] [4] [a] 27 July — 30 June was a German dancer and choreographer who, with a blend of movement, sound, and prominent stage sets, and with performers during the development of a piece a style now known as Tanztheaterbecame an influence in the field of modern dance from the s on. Bausch was born in Solingenthe daughter of August and Anita Bausch, who owned a restaurant with guest rooms which is where she 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. Pina was accepted into Kurt Jooss 's the Folkwangschule at age of When, inTaylor was invited Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch premiere a new work named Tablet in SpoletoItaly, he took Bausch with him. In these two years, I have found myself. The company has a large repertoire of original pieces, and regularly tours throughout the world from its home base of the Opernhaus Wuppertal. It was renamed later: Tanztheater Wuppertal Pina Bausch. Bausch had most of Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch dancers perform this piece with their eyes closed. 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. One of the themes in her work was relationships. She had a very specific process in which she went about creating emotions. From the answers develop gestures, sentences, dialogues, little scenes. It is with this freedom that the dancer feels secure in going deep within themselves. When talking about her process she stated, "There is no book. There is no set. There is no music. There is only life and us. It's absolutely frightening to do a work when you have nothing to hold on to. What you do with things. There's nothing there to start with. There are only answers: sentences, little scenes someone's shown you. It's all separate to start Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch. Then at a certain point I'll take something which I think is right and join it to something else. This with that, that with something else. Kontakthof with Ladies and Gentleman over 65 - A Piece by Pina Bausch thing with various other things. And by the time I've found the next thing is right, then the little thing I had is already a lot bigger. Her pieces are constructed of short units of dialogue and action, often of a surreal nature. Repetition is an important structuring device. She stated: " Repetition is not repetition, The same action makes you feel something completely different by the end. In Vollmondhalf of the stage is taken up by a giant, rocky hill, and the score includes everything from Portuguese music to k. The film premiered at the Berlin Film Festival in Bausch was married to Dutch-born Rolf Borzika set and costume designer who died of leukaemia in She was awarded the Deutscher Tanzpreis in Inshe was the recipient of the Europe Theatre Prize. Seven of the works have not been seen in the UK. Bausch died on 30 June in WuppertalNorth Rhine WestphaliaGermany at the age of 68 [19] of an unstated form of cancer attributable to smoking, [20] five days after diagnosis [5] 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. Wenders' documentary, Pinawas released in late in the United States, and is dedicated to her memory. Bausch's style has influenced performers such as David Bowiewho 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. SolingenGermany. WuppertalNorth Rhine-WestphaliaGermany. Folkwangschule Juilliard School. Pina Bausch's Nelken Carnations Tanztheater in Deutschland in German. Retrieved 5 April Auf die alte, traditionelle Weise Freunde der Familien nahmen die kleine Philippine mit ins Kinderballett. 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 The Independent. 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. International Business Times. Retrieved 1 February Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Modern dance choreographer, folk dance choreographer, dancer. Iphigenie auf Tauris. Gluck's opera Iphigenie auf Tauris. Orpheus und Eurydike. Gluck's opera Orpheus und Eurydike. Stravinsky's ballet The Rite of Spring. Ballet with pantomimedance and singing soprano and male quartet. Tangoessung a. Kontakthof, with teenagers 14 years and up [26]. 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