Pina remodeled the way of dance because of her distinctive dance moves and the way she presented dance. Purchase this issue for $44.00 USD. For terms and use, please refer to our Terms and Conditions She was the artistic director and choreographer of the Tanztheater Wuppertal Pina Bausch company, based in Wuppertal in Germany. And no, it wasn't part of the choreography. This item is part of a JSTOR Collection. ''Interview with Valerie Lawson, ballet.co.uk, 2002, "I am less interested in how people move than in what moves them. The chapter begins with a careful unpacking of a particular moment in a work of Pina Bausch, digs down to theoretical underpinnings of the idea of presence and embodiment, and continually returns back to the moment … (1989). Tanztheater Wuppertal will also be performing Água at this year's Edinburgh international festival, from 27 to 29 August. It was never meant that I stay here in Wuppertal," she said. On film, she also appeared as a strange, otherwordly presence in Federico Fellini's The Ship Sails On (1982), and in Pedro Almodóvar's Talk to Her (2001). European choreographers Pina Bausch and Jérôme Bel share a critical line of inquiry into the established dance practices of their time, putting both the identity of their subjects and the identity of the genre of dance at risk. With a personal account, you can read up to 100 articles each month for free. For years, passing on material was an She died suddenly in July 2009, just five days after being diagnosed with cancer. First challenging the notions of what dance could be during the dark landscape of post-war Germany, Pina continued to choreograph seminal works until her untimely death in 2009. A tall, sepulchral figure who subsisted on cigarettes and coffee, Bausch was at her most iconic as the somnabulist in Cafe Müller (1978), a role she continued to perform into her 60s. ©2000-2021 ITHAKA. MUSE delivers outstanding results to the scholarly community by maximizing revenues for publishers, providing value to libraries, and enabling access for scholars worldwide. One of the largest publishers in the United States, the Johns Hopkins University Press combines traditional books and journals publishing units with cutting-edge service divisions that sustain diversity and independence among nonprofit, scholarly publishers, societies, and associations. 3, Women and/in Drama (Oct., 1990), Access everything in the JPASS collection, Download up to 10 article PDFs to save and keep, Download up to 120 article PDFs to save and keep. The Press is home to the largest journal publication program of any U.S.-based university press. "Quoted by Luke Jennings, Observer, 2009, "She has basically re-invented dance … She is a category of dance unto herself. option. It is also a development of my previous writing on Bausch and Tanztheater that was originally published in Liminal Acts: A Critical Overview of Contemporary Performance and Theory (London: Cassell; New York: Continuum, 1999). Other articles where Pina Bausch is discussed: theatrical production: Dance theatre: , in the mid-1970s by Pina Bausch. She placed ballet and theatre together with her pieces. Her later location pieces used her performers' reactions to the cities in which they were resident as source material for surreal, sometimes comic dances about local people and places. Her earlier pieces, especially, were harrowing in their portrayal of haunted souls and precarious sanity; later in her career, there was more humour, though it was wry rather than sunny. Philippine "Pina" Bausch (July 27, 1940 – June 30, 2009) was a modern dance choreographer and a leading influence in the development of the Tanztheater style of dance. 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