The Rite of Spring, Cafe Muller by Pina Bausch and Tanztheater Wuppertal September 20, 2007

Time: 2007/9/20-2007/9/23
Venue: Tian Qiao Theater
Price: 180/280/380/480/680/880/1280
Tel.: 86-10-64177845
MSN/Email: [email protected]

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Pina Bausch
Born in Solingen, Germany in 1940, Pina Bausch began her dancestudies at the age of 15 at the Folkwang School in Essen, where shestudied with several teachers, including the renowned expressionistchoreographer Kurt Jooss. In 1959 she graduated and was awarded theFolkwang prize for special achievement. With a stipend from the GermanAcademic Exchange Service (DAAD), Bausch went to New York in 1960 tostudy at The Juilliard School with Anthony Tudor, José Limon, LouisHorst, Alfredo Corvino, Margaret Craske, and La Meri, among others. Atthe same time she performed with the Paul Sanasardo and Donya FeuerDance Company and the New American Ballet. Bausch later became a memberof the Metropolitan Opera's ballet company and also worked with PaulTaylor. She has remarked that her two years in New York were among themost influential in her early life and that when she thinks of NewYork, she feels a sense of homesickness.
In 1962, Bausch returned to Germany where she became a soloist inthe newly-formed Folkwang Ballett, working once again with Kurt Jooss,and also with Hans Zülig, and especially with Jean Cébron. Herchoreographic career began in 1968 with Fragmente, followed by Im Windder Zeit (In the Wind of Time), which later won first prize at theSecond International Choreographic Competition in Cologne. Bausch hassaid that her impetus for taking up choreography was out of thefrustration of wanting something to dance. From 1969-73 she served asartistic director of the company, while continuing to dance andchoreograph. Bausch's work was gaining notice and after creating thebachannale for Hans-Peter Lehmann's production of Richard Wagner'sTannh?user for the Wuppertal Opera Company in 1972, she was offered thedirectorship of the Wuppertal Opera Ballet. Reluctant at first, Bauschagreed when she was permitted to bring dancers from theFolkwang-Tanzstudio with her. Not long after her arrival, the companybecame the Wuppertaler Tanztheater, and was later renamed theTanztheater Wuppertal Pina Bausch.
In her new position, Bausch helped revive modern dance in postwarGermany which has its roots in Ausdrucktanz, or "expressive dance,"which looked to everyday movements to express personal experiences, andwhich gained popularity in the 1920s. But with the rise of the Nazisand the war, modern dance lost its vigor, many of its creators likeKurt Jooss left, and German dance became isolated. After the war, therewas little enthusiasm for Ausdrucktanz, while classical balletflourished. With Jooss's return in 1949, the re-established FolkwangSchool provided one of the only places for formal training in danceother than ballet. But it was not until the late 1960s and 1970s thatGerman modern dance began to regain momentum, in part due to thestudent movement in West Germany. Young dancers felt constrained by theformalism of German ballet and American post-modern dance, and rebelledagainst the Americanization of their country. Some returned to theexpressionism of Ausdrucktanz and started to venture into new ground,combining it with elements from the other arts. Toward the late 1970s,the term Tanztheater or dance theater, began to be used to distinguishthe work of these choreographers, one of them being Pina Bausch.

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