Upload
others
View
10
Download
0
Embed Size (px)
Citation preview
Mongrel Media
Presents
PINA
A Film by Wim Wenders (106 min., Germany, 2011)
Distribution
1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6
Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected]
www.mongrelmedia.com
Publicity
Bonne Smith Star PR
Tel: 416-488-4436 Fax: 416-488-8438
E-mail: [email protected]
High res stills may be downloaded from http://www.mongrelmedia.com/press.html
6 CREW
7 DANCERS
8 SHORT SYNOPSIS
8 PRESS NOTICE
9 WIM WENDERS ABOUT PINA BAUSCH(1)
9 InventorofaModernArtForm
9 Movement
10 PRODUCTION NOTES
10 TheDevelopmentoftheProject
10 ShockandanewBeginning
11 Virginterritoryandatotallynew experience
12 Shooting
13 WIM WENDERS ABOUT PINA BAUSCH(2)
14 THE TANZTHEATER WUPPERTAL PINA BAUSCH
14 FOUR PIECES BY PINA BAUSCH FOR THE FILM PINA
14 LeSacreduPrintemps
14 Kontakthof
15 CaféMüller
15 Vollmond
16 PORTRAITS
18 PINA BAUSCH ABOUT HER WORK
18 Questions
18 Searching
18 Findingsomethingthatneedsnoquestion
19 NEW CINEMATIC TERRITORY 3D
19 InterviewwithWimWenders
22 NEW CINEMATIC TERRITORY 3D(PARTII)
22 3DProducerErwinM.Schmidttalksabout theproductionprocess
24 BIOGRAPHIES
24 PINABAUSCH–Dancer,Choreographer
26 WORKSBYPINABAUSCH
29 WIMWENDERS–Writer,Director, Producer
31 FILMOGRAPHYWIMWENDERS
32 GIANPIERORINGEL–Producer
32 PETERPABST–ArtDirector
32 DOMINIQUEMERCY–ArtisticConsultant
33 ROBERTSTURM–ArtisticConsultant
33 MARIONCITO–Costumes
33 ROLFBORZIK–SetandCostumeDesign until1980
34 ALAINDEROBE–Stereographer
34 HÉLÈNELOUVART–Cinematographer
34 FRANÇOISGARNIER–3DSupervisor
35 ERWINM.SCHMIDT–3DProducer
35 TONIFROSCHHAMMER–Editor
35 THOMHANREICH–Composer
ConTEnTS
6
Writer/Director/ Wim WendersProducer
Producer Gian-Piero Ringel
Stereographer Alain Derobe
Cinematographer Hélène Louvart Jörg Widmer
3DSupervisor François Garnier
3DProducer Erwin M. Schmidt
Editor Toni Froschhammer
Composer Thom Hanreich
MusicConsultant Milena Fessmann / Beckmann
Mixer Matthias Lempert
Sound André Rigaut
Producers Wolfgang Bergmann
Gabriele Heuser
Dieter Schneider
Co-producers Claudie Ossard
Chris Bolzli
ExecutiveProducer Jeremy Thomas
AssociateProducer Heiner Bastian
Stefan Rüll
Stephan Mallmann
Dr. Mohammad Zahoor
ProductionManager Peter Hermann
Helen Olive
For the Tanztheater Wuppertal Pina Bausch
Choreography Pina Bausch
ArtisticConsultant Dominique Mercy
Robert Sturm
ArtDirector Peter Pabst
Costumes Marion Cito
Rolf Borzik
MusicConsultant Matthias Burkert
Andreas Eisenschneider
ANeue Road MoviesProductionincoproductionwithEurowide Filmproduction, ZDF,
ZDFtheaterkanalinassociationwithArteand3sat
inassociationwiththeTanztheater Wuppertal Pina
Bausch, L’Arche Editeur, Pina Bausch Stiftungand
Pictorion Das Werk
withthesupportof Filmstiftung NRW, DFFF, FFA,
Medienboard Berlin-Brandenburg, BKMandCNC
CrEW
TECHniCal DaTa LENGTH: 103 MIN. /FORMAT: 1:1,85 /COLOUR
SOUND: DOLBY 5.1 /SCREENINGFORMAT: 3D DCP
7
DanCErSRegina Advento
Malou Airaudo
Ruth Amarante
Jorge Puerta Armenta
Pina Bausch
Rainer Behr
Andrey Berezin
Damiano Ottavio Bigi
Aleš Cucek
Clémentine Deluy
Josephine Ann Endicott
Lutz Förster
Pablo Aran Gimeno
Mechthild Großmann
Silvia Farias Heredia
Barbara Kaufmann
Nayoung Kim
Daphnis Kokkinos
Ed Kortlandt
Eddie Martinez
Dominique Mercy
Thusnelda Mercy
Ditta Miranda Jasjfi
Cristiana Morganti
Morena Nascimento
Nazareth Panadero
Helena Pikon
Fabien Prioville
Jean-Laurent Sasportes
Franko Schmidt
Azusa Seyama
Julie Shanahan
Julie Anne Stanzak
Michael Strecker
Fernando Suels Mendoza
Aida Vainieri
Anna Wehsarg
Tsai-Chin Yu
AsGuestsin“LeSacreduprintemps“:
Alexeider Abad Gonzales
Stephan Brinkmann
Meritxell Checa Esteban
Paul Hess
Rudolf Giglberger
Chrystel Wu Guillebeaud
Mu-Yi Kuo
Szu-Wei Wu
Tomoko Yamashita
Sergey Zhukov
Andy Zondag
8
PINAisafeature-lengthdancefilmin3DwiththeensembleoftheTanztheaterWuppertalPinaBausch,featuringtheuniqueandinspiringartofthegreatGermanchoreographer,whodiedinthesummerof2009.
PINAisafilmforPinaBauschbyWimWenders.Hetakestheaudienceona
sensual,visuallystunningjourneyofdiscoveryintoanewdimension:straightontothestagewiththelegendaryensembleandfollowsthedancersoutofthetheatreintothecityandthesurroundingareasofWuppertal–theplace,whichfor35yearswasthehomeandcenterforPinaBausch’screativity.
SHorT SynopSiS
AfterthesuddendeathofPinaBauschinthesummerof2009–inthemiddleofjointpreparationsbeforeshooting–WimWenders,afteraperiodofmourningandreflection,hadtorethinkandstartagainwithhisfilmaboutandwithPinaBausch.TheresultwasafilmforPinaBausch.Usingthechoreographieswhichhadbeenjointlyselected–“CaféMüller“,“LeSacreduprintemps“,“Vollmond“and“Kontakthof“,-andusingsomeimagesandaudiofilesofherlifeaswellas3DrecordingsofindividualensemblemembersoftheTanztheaterWuppertalwhoinspringof2010dancedpersonalmemoriesoftheprecise,criticalandlovingnatureoftheirgreatmentor.
Duringmorethan20yearsofpersonalfriendship,WimWendersandPinaBauschneverlostsightoftheirideatomakeadancefilmtogether.Butonlynow,withthelatestpossibilitiescreatedbydigital3Dtechnology,didWimWendersfindtheaestheticmeanstobringtheuniqueplasticityandemotionalexpressivenessofPinaBausch’sinnovativeTanztheatertothecinemascreen.Onlynowcanthedimensionofthespacebereproducedinthecinema.Itisthisdimensioninwhichmovementanddancetakeplace,andintowhichthenew3Dcinemacantakethevieweronasensualjourneyofdiscovery.
prESS noTiCE
9
No,therewasnohurricanethatsweptacrossthestage,therewerejust…peopleperformingwhomoveddifferentlythenIknew
andwhomovedmeasIhadneverbeenmovedbefore.AfteronlyafewmomentsIhadalumpinmythroat,andafterafewminutesofunbelievingamazement
Isimplyletgoofmyfeelingsandcriedunrestrainedly.
Thishadneverhappenedtomebefore…maybeinlife,sometimesinthecinema,
butnotwhenwatchingarehearsedproduction,letalonechoreography.
Thiswasnottheatre,norpantomime,norballetandnotatallopera.
Pinais,asyouknow,thecreatorofanewart.
Dancetheatre.
WiM WEnDErSaBoUT pina BaUSCH (1)
Untilnowmovementassuchhasnevertouchedme.Ialwaysregardeditasagiven.
Onejustmoves.Everythingmoves.OnlythroughPina’sTanztheaterhaveIlearnedtovalue
movements,gestures,attitudes,behaviour,bodylanguage,andthroughherworklearnedtorespectthem.
Andaneweverytimewhen,overtheyearsIsawPina’spieces,manytimesandagain,didIrelearn,oftenlikebeingstruckbythunder,
thatthesimplestandmostobviousisthemostmovingatall:Whattreasurelieswithinourbodies,tobeabletoexpressitselfwithoutwords,
andhowmanystoriescanbetoldwithoutsayingasinglesentence.
Speaking at the ceremony of the 2008 Goethe Prize of the city of Frankfurt am Main to Pina Bausch (excerpt)
MoVEMEnT
inVEnTor oF a nEW arT ForM
10
WimWenderswasdeeplyimpressedandmovedwhenin1985hesawforthefirsttime“CaféMüller“bychoreographerPinaBauschwhentheTanztheaterWuppertalperformedinVenice,attheoccasionofaretrospectiveofBusch’swork.Outofthemeetingofthetwoartistsgrewalong-standingfriendshipandwiththepassageoftimetheplanforajointfilm.However,puttingtheplanintoactionfailedforalongtimebecauseofthelimitedpossibilitiesofthemedium:WendersfeltthathehadnotyetfoundawaytoadequatelytranslatePinaBausch’suniqueartofmovement,gesture,speechandmusicintofilm.Overtheyearsthejointfilmprojectturnedintoafriendlyritual,almostarunninggag,withbothartistsremindingoneanotheroftheirplan.“When?”“AssoonasIknowhow…”
ThedefiningmomentfinallycameforWimWenderswhentheIrishRockbandU2presentedtheirdigitallyproduced3Dconcertfilm“U2-3D“inCannes.Wendersknewimmediately:“With3Dourprojectwouldbepossible!Onlyinthisway,byincorporatingthedimensionofspace,Icoulddare(andnotjustpresumingly),tobringPina’sTanztheaterininanadequateformtothescreen.“Wendersbegantosystematicallyviewthenewgenerationofdigital3Dcinemaandin2008togetherwithPinaBauschtoconsidertherealizationoftheirshareddream.TogetherwithWimWenders,Bauschselected“CaféMüller“,“LeSacreduprintemps“,”Vollmond“and“Kontakthof“fromherrepertoireandaddedthemtoher2009/2010season.
proDUCTion noTES
Inearly2009,WimWendersandhisproductioncompanyNeueRoadMovies,togetherwithPinaBauschandtheEnsembleoftheTanztheaterWuppertal,beganthephaseofactualpre-production.Afterhalfayearofintensivework,andonlytwodaysbeforetheplanned3Drehearsalshoot,theunimaginablehappened:PinaBauschdiedonJune30th2009,suddenlyandunexpectedly.AroundtheworldadmirersofherartandfriendsoftheTanztheaterWuppertalmournedthedeathofthegreatchoreographer.Thisseemedtobetheendofthejointfilmproject.WimWendersimmediatelystoppedpreparations,convincedthatthemovie,withoutPinaBausch,shouldnolongerbepursued.
Afteraperiodofmourningandreflectionandencouragedbymanyinternationalappeals,theconsentofthefamily,andtherequestofstaffanddancersoftheensemblewhowerejustabouttostartrehearsingthepiecesselectedforthefilm,WimWendersdecidedtomakethefilmwithoutPinaBauschathisside,afterall.Herinquiring,affectionatelookatthegesturesandmovementsofherensembleandevery
detailofherchoreographywasstillaliveandpresentandinscribedintothebodiesofherdancers.Now,inspiteofthegreatloss,wastherightmoment,andmaybethelastonetorecordallthisonfilm.
Thenewfilmconceptincludes,inadditiontoexcerptsfromthefourproductionsof“CaféMüller“,“LeSacreduprintemps“,”Vollmond“and“Kontakthof“,carefullyselectedarchivefootageofPinaBauschatwork,innovativelyinsertedinthe3Dworldofthefilmasathirdelement,withmanyimaginative,shortsoloperformancesbythedancersoftheensemble.Toachievethis,WimWendersusedPinaBausch’sownmethodof“questioning”withwhichthechoreographerdevelopedhernewproductions.Sheposedquestionsandherdancersanswerednotinwords,butwithimproviseddanceandbodylanguage.TheydancedintimatefeelingsandpersonalexperiencesfromwhichPinaBausch,duringintensiveworkingsessionswithherensemble,developedherpieces.WimWendersturnedtothismethodwhenheinvitedthedancerstoexpresstheirmemoriesofPinaBauschfor
THE DEVElopMEnT oF THE proJECT
SHoCK anD a nEW BEGinninG
11
thefilminindividualsoloperformances.WendersfilmedthesedifferentsolosforPINAinnumerouslocationsinandaroundWuppertal:inthecountrysideoftheBergischesLand,inindustrialfacilities,atroadcrossingsandintheWuppertalSuspensionLine.Theygivethedancersoftheensembleindividualfaces,andformanexciting,polyphonicadditiontothecomposedpiecesof“CaféMüller“,“LeSacreduprintemps“,”Vollmond“and“Kontakthof“.
TanztheaterWuppertal‘slong-timecostumedesigner,MarionCito,summedup
theworkwithWimWendersandhisfilmcrewduringthefilming:“Likemanyofmycolleagues,IsometimescannotbelievethatPinaBauschisnolongerhere.Thegreatsadnessisstillfarfromover.Togetoveritneedsmoretime.Onesenses,however,thatshelivesoninherworks.EverythingIdo,eventhefilming,IdoforPina.Thathelps.Ithinkit’sreallygreatthatWendersisshootinghismovienow,becausePinawantedthisverymuch.“
VirGin TErriTory anD a ToTally nEW EXpEriEnCE
PINAisnotonlyoneofthefirstEuropean3Dmoviesever,itisalsotheworld’sfirst3Darthousefilm.ProducerGianPieroRingelwasfacedwithnoeasytask:“Technologicallyaswellaswiththegenre,weentercompletelyuncharteredterritorywithPINA.Eventofindthetechnicalexpertsforthedevelopmentandimplementationwasachallenge,astherewereveryfew.”Currentlyanewfilmlanguageisbeingdevelopedthroughthedigital3Dprocess–achallengeforanyproducer.“Manyotherdirectorsarestillhesitatingtoworkin3D,becausetherearenosuccessfulmodels.Wewantedtobeapioneersintheexpansionofthecinematiclanguageto3D.“
Butconqueringnewterritoryrequiresaspecialeffort:“Everyoneinvolvedintheproductionhadtolearnhowtomakea3Ddancemovie.Whatworksin2D,doesbynomeanshavetoworkin3D.Forthisweneededproperresearch”,says3DProducerErwinM.Schmidt.Hecontinues:“Inanongoinglearningprocess,weacquiredtheknow-howforthepreparation,theshootandthepost-production.”
“Thenew3DprocessopensupanentirelynewperspectiveontheTanztheater,“saidadelightedDominiqueMercy,oneofthetwoartisticdirectorsoftheWuppertalTanztheater,duringthefilming.“ToworkatthiswithWimWendersandhiscrewisawonderfulexperience.Itisahugejointjourneyofexploration.
WimWenderscontinuestofindoutmoreandmoreaboutwhattheTanztheatercanbe,andwediscoverwiththefilmteamawholenewwayofworking.Itisaverycreativeatmosphere.”
“Withthenew3Dtechnology,WimWenderspicksuptheworkoftheTanztheaterthatalwaysconsistedincrossingboundaries”,explainsPeterPabst,setdesigneroftheTanztheaterWuppertalsince1980andArtDirectorofthefilmproductionPINA.“Crossingtheborderbetweenthestageandtheviewerisanimportantpartofthechoreography.Thedancersareconstantlyengagedwiththeaudience,evenphysicallycomingdownfromthestage.IthasalwaysplayedacrucialroleforPinaBauschthatherpiecesarecompletedfirstintheheads,eyes,heartandinthefeelingsoftheaudience.”
WithPINA,WimWendersconqueredanewdimensionoffilmmakingandyetsaysalreadyduringthefilming:“Asmuchasweneedthethirddimension,wearesimultaneouslydoingourbesttomaketheaudienceforgetthisvery‘conquestofspace’.Theplasticityshouldnotcallattentiontoitself,butshouldmakeitselfalmostinvisible,sothatPina’sartbecomesevenmoreevident”
12
SHooTinG
PINAwasfilmedinWuppertalinthreestages:inautumnof2009,inspringandinsummerof2010.Inthefirststage“CaféMüller“,“LeSacreduprintemps“and“Vollmond“wereperformedliveonstageattheWuppertalOperaHouse,someinfrontofanaudience,andrecordedintheirentirelengths.ThetightglobaltourscheduleoftheTanztheaterallowedonlythiswindowforthefilming.Inadditiontothecomplex3Drecording,thechallengeincreasedsignificantlywiththelivesituation,becausetherecordingscouldnotbeinterruptedorrepeated.Thecomplexityofa3Dliverecordingrequiredintensivepreparationandplanning.
Forthe3DimagecompositionWimWendersconvincedoneofthemostexperienced3Dpioneersinstereography,AlainDerobe,tojoinhisteam.FortheuniquerequirementsoftheshootofPINA,Derobedevelopedaspecial3Dcamerarigmountedonacrane.Tocreatethedepthoftheroomitisveryimportanttostayclosetothedancersandtofollowthem:“Normally,withadancefilm,wewoulderectcamerasinfrontofthestage,farawayfromtheactiononstage,”saysAlainDerobe,“forPINAwepositionedthecamerasbetweenthedancers.Thecameraliterallydanceswiththem.Therefore,eachcrewmemberhadtodealwiththechoreography.Everyonehadtoknowexactlywherethedancerswouldmovesothecameracouldfollowthemandnotbeintheirway.”
Derobewassupportedby3DSupervisorFrançoisGarnier,whoalsosawdancetheatrein3Dasaspecialchallenge:“Wecannotstopadancerinshortsequences,onemustshootinmuchlongersequences.Thechallengeistoalwaysstayclosebywiththecamera,althoughthedancermoves.“Despitethedifficulties,Garnierisconvincedofusing3D:“Becausedanceisbynatureamovementinspace,thereisnobettermethodthan3Dtechnologytoshowdance.3Dhasallthespace,alltheaction,andallthemovementtooffer.Thesenseofphysicalsensationismuchmorepowerfulthananyintellectualreflection.With3D,cinemaentersanewlevel.“
Inthesecondstageoffilming,theteamrecordedwith“Kontakthof”anotherearlypiecebyPinaBausch,thistimewithoutanaudience.TheclassicwasfilmedbyWimWendersinthethreedifferentcastingscreatedbyPinaBausch:withtheensembleoftheWuppertalTanztheater,withmenandwomenagedbetween65and80,andwithteenagersfromtheageof14on.Forthesolosthedancersoftheensembleleftthelimitedspaceofthestageandperformedinpublicspaces,industriallandscapes,thesweepingcountrysideoftheBergischesLandandintheWuppertalSuspensionLine.
13
Pinasawwiththeheart,untilshewasallspent.Shedidn’teconomizehergift.
Indoingso,hereyeswerealwaysstrict.Aslovingastheywere,ascriticaltheywereaswell.
Butalwayscaring,notleavingyouexposed.Neverjudging,butuplifting.
“Yougottabecrueltobekind,”isabeautifullineinasongbyElvisCostello.
Thegreatestofallartsindealingwithpeopleis,Ithink,tobringoutthebestfromeachone
andmakeitvisible.ThatwaswhatPinaexcelledat.
Youdancersknowallthismuchbetterthanme.Youwereforyears,manyofyoufordecades,
theorchestraofPina’sglance,eachofyouapreciousuniqueinstrument.
Sheenabledeachofyou,lovinglybutrigorously,nottoconcealyourbest,buttodiscloseit.
Andsheallowedus,herspectators,toshareherlook
andopenoureyesforourselvesandthehiddenlanguageinsideus.
Speaking at the commemoration for Pina Bausch4. September 2009 at the Wuppertal Opera House (excerpt)
WiM WEnDErSaBoUT pina BaUSCH (2)
For pina
14
THE TanZTHEaTEr WUppErTal pina BaUSCH
ThebeginningwascontroversialwhenPinaBauschtookoverasheadofthedancedivisionattheWuppertalTheatreforthe1973/74season:theformshedevelopedovertheyears,amixtureofdanceandtheatre,wastoounusual.Withher,theperformersnotonlydanced,theytalked,sang,andsometimescriedorlaughedaswell.Butthisunconventionalworkprevailed.TherewasarevolutioncomingfromWuppertal,whichemancipatedandnewlydefineddanceacrosstheworld.TheTanztheaterrosetobeinaleagueofitsown,whichinfluencedinternationalchoreographersandaffectedboththeatreandclassicalballet.TheworldwidesuccesswasduetothefactthatPinaBauschmadeauniversalneedhercoreissue:theneedforlove,forclosenessandsecurity.Forthisshedevelopedanopenformofworkingthatcouldholdthemostdiverseculturalinfluencesinthem.Inconstantlynewpoeticexcursions,sheexaminedwhatbringsusclosertoourneedforloveandwhat
movesusawayfromit.ItisaWorldTheatrethatisnotpatronizingorknowsbetterthantheaudience,butratherproducesexperiences:blissfulormelancholy,gentleorconfrontational,andattimesfunnyandbizarre.Thesearevividandmovingimagesofinternallandscapesthatexploreminutelythehumanconditionwhilenevergivinguphopethatthelongingforlovecanbesatisfied.Hopeisakeytothiswork,asisitssenseofrealism.Thepiecesareallrelatedtosomethingallviewersknowandcanexperiencebythemselves.Inthe36yearsthatPinaBauschhasshapedherpiecesatWuppertaluntilherdeathin2009,shehascreatedabodyofworkthatpresentsanincorruptibleviewofrealityandalsoencouragespeopletoliveuptotheirownwishesanddesires.Heruniqueensemble,withitsmanystrongpersonalities,willcontinuetomaintainherstandardsinthefuture.
From: www.pina-bausch.de
FoUr piECES By pina BaUSCHFor THE FilM pina
“LeSacreduprintemps”isoneofPinaBausch’smostperformedandmostsuccessfulearlypieces,whichmadeherworkknowntoalargeaudience,after“IphigeniainTaurus”and“OrpheusandEurydice”.Thewholestageisfilledankledeepwithpeat,sothatallthedancers’movementsleavetracesandnolight-footed
actionsarepossible.Slowlyitturnsintoanarchaicarenainwhichthegendersfighteachother.Awomanwilleventuallybesacrificedinaritual.TherhythmicmusicbyIgorStravinskyincreasestheviolentgroupdynamic,andgraduallyextinguishesallindividualreactions.
lE SaCrE DU prinTEMpS (premiered 1975)
“Kontakthof”couldinmanyrespectsberegardedasthesumofPinaBausch’swork.Ittakesplaceatasinglelocation,alargedancehalloratheatre.Thehighroomiscompletelyempty,tothefrontitisopentothepublic,openlikeapeepshow,andtheotherthreesidesareequippedwithlongrowsofchairs.Menandwomenaresittinglinedupagainstthewalls.Slowlytheymovetoallsortsofencounters,somemovingcautiously,otherswildandimpetuously.
Sometimesthereisasinglepaironthedancefloor,sometimestheentirecastof30dancers.PinaBauschcreatedthispiecewithherensemblein1978,thenyearslater,in2000,rehearsedandnewlyperformeditagain,butthistimenotwithherregulardancetroupe,butwithnon-professionaldancers,amateurs,whodonotnormallyappearinthiscontext:namelywithseniorsaged65andover.Thiswas(andis)asensation,becauseitcompletelyquestions
KonTaKTHoF (premiered 1978 / 2000 / 2008)
15
andaltersourviewofoldpeopleandofage.“Kontakthof”playedanddancedbyoldpeople,triggersatotallydifferentperceptionofbeauty,grace,mortality,aging,compassionandyes,emotionandpassion.Eightyearslaterin2008,the“Kontakthof”experiencewasexpandedbyafurtherlayer,whenyoungpeoplerehearsed
thepiece,teenagersagedbetween14and18.Thisaddedanothernewview.Thesamegesturesandmovementscontributedagainanothermeaning.Suddenlyoneisfacedasaspectatorwithonesownexperience,evenmore,withonesownvisionofself,oneslife,dreams,fears,projections.
“CaféMüller”isanalmostminimalistpiece,performedbysixdancers/performers.Thestageshowsabaregrayplacethatisfilledonlybydozensofcoffeetablesandchairs.Theactorsanddancersaretryingtofindeachother.Butthroughtheclutteredroom,theirmovementsareslowandgenerallylimited.Theyactlikesleepwalkers,withclosedeyesinatrance,andtheyremain
strangers,blindtoeachother.Onlyoneman,open-eyed,triestohelpotherstofindoneanother,andfreneticallyopenspassagesthroughtheforestofchairsforthembyswirlingfurnituretotheside.TothemelancholymusicbyHenryPurcell“CaféMüller”tellsoflonelinessandlonging,intheatmosphereofadreamworld.
CaFÉ MÜllEr (premiered 1978)
“Vollmond”showsPinaBausch’sartinfullbloom.Anexuberantmusicdeterminesthepiece,justasthemagnificentsceneryofPina’slongtimeclosecollaboratorPeterPabst.Alargerockdominatesthesceneandamoatseparatesthestagelikeariver.Twelvedancersplayinthesilverlandscape,andareexposedtotherainandthestorm,andsearchfeverishlyforlove.Evenhere
afight(orwar)ofthesexesisthecenterofallrelationships.AsinallnewworksbyPinaBausch,sometimesitleadstolightandhumoroussituations,often,tofearandterror.Asplayfulasthepiecebegins,sowildandunrestraineditwillendasthetwelvedancersromptototalexhaustion.
VollMonD (premiered 2006)
16
porTraiTS
... the Tanztheater Wuppertal pina Bausch for the film pina
Regina Advento Malou Airaudo Ruth Amarante Jorge Puerta Armenta
Rainer Behr Andrey Berezin Damiano Ottavio Bigi Ale⌃ Cucek
Clémentine Deluy Josephine Ann Endicott Lutz Förster Pablo Aran Gimeno
Silvia Farias Heredia Barbara Kaufmann Nayoung Kim Daphnis Kokkinos
Eddie Martinez Dominique Mercy Thusnelda Mercy Ditta Miranda Jasjfi
17
Cristiana Morganti Nazareth Panadero Helena Pikon Jean Sasportes
Franko Schmidt Azusa Seyama Julie Shanahan Julie Anne Stanzak
Michael Strecker Fernando Suels Mendoza Tsai-Chin Yu Aida Vainieri
Anna Wehsarg
18
“Thosequestionsaretheretoverycarefullyapproachasubject.Thisisaveryopenwayofworking,andyetquiteaccurate.IalwaysknowexactlywhatIamlookingfor,butIknowitemotionallyandnotwithmyhead.Therefore,onecanneverreallyaskdirectly.Thatwouldbetooblunt,andtheanswerswouldbetoobanal.Ihavetoleaveitalone,whatI’mlookingfor,atleastwithwords,butImustrevealitandmakeitappearwithalotofpatience.Whenasmallmomentisfound,thenIknowthatitbelongstowhat
Iwaslookingfor.Iamhappythen,butI’mnottalkingaboutit.ThedancersdonotknowwhatI’mlookingfororwhatIfindspecialorprecious.Thisbelongstothemutualtrustweneedinthiswork.Everyonemusthavethefreedom,withoutinhibitions,toshoweverything.Ifyoukeepsomethinginsideyou,yourthoughtsrevolvemoreandmorearoundit,andyouwillnotgetridofit.However,ifyouletitout,thenotherthingscansurface.”
pina BaUSCHaBoUT HEr WorKQUESTionS
“Everydetailisimportant,everychange,becauseeachshiftcreatesadifferenteffect.Allthatwefindduringrehearsalislookedatandexaminedverycarefullytoseeifitcanholdwaterevenunderthemostdifficultconditions.IallownothinginwhichIcannotbelieve,whichdoesnotconvinceme.Attheend,ofthemanyquestionsonlyveryfewthingsremainthatconstituteapiece.Everythingisscrutinizedagainandagainandreconsidered.Everydetailundergoesavarietyoftransformations,untilithas
founditsrightplaceattheend.Ittakesalongtimeeverytime,untilsomethingisunderway.Evenoverlookingjustalittlethingmighttaketheworkastepinthewrongdirection,anditisveryhardtocorrect.Thereforeyouneedahighdegreeofaccuracyandhonestyinthisworkandalotofcourage.Weshowsomethingpersonal,butitisnotprivate.Itrevealsapieceofwhatweallhaveincommon.Tofindthatrequiresgreatpatienceandawillingnesstolookoverandoveragain.”
SEarCHinG
“I’veneverintendedtoinventaparticularstyleoranewkindoftheatre.Theformemergedquitebyitself:fromthequestionsIhad.InmyworkI’vealwayslookedforsomethingIdidnotyetknow.Thisisapermanent,alsoapainfulsearch,astruggle.Whensearching,youcannotrelyonanything:notraditionandnoroutine.There
isnothingthatyoucanholdonto.Youstandalonefacinglifeandtheexperiencesthatyoumake,andyouhavetotryallonyourowntomakevisiblewhatyouhavealwaysknown,oratleastgiveaclueorforeshadowit.It’saboutfindingsomethingthatdoesnotneedanyquestion.“
FinDinG SoMETHinG THaT nEEDS no QUESTion
From: The 2007 Kyoto Prize Workshop in Arts and Philosophy, “Finding something that needs no question” by Pina Bausch
19
You experienced the worst that can happen to a film, the death of the main character. Didn’t the death of Pina Bausch also mean the death of this film project?
Pinawasmorethanthe“maincharacter”.Shewasthereasonitselftomakethisfilm.Wewereinthemiddleofpreparations,immediatelybeforethefirst3DtestshootwiththeensembleinWuppertal,whenwereceivedthenewsofPina’sabruptdeath.Yes,ofcourse,weimmediatelystoppedeverything.Itseemedpointlesstomakethemovie.Afterall,PinaandIhaddreamedofthisprojecttogetherfortwentyyears!OriginallyaspontaneoussuggestionfrommetoPinainthemid-eightiestomakeafilmtogether,itgraduallybecameakindof“runninggag”betweenus.Pinawouldask:“Whataboutdoingitnow,Wim?”andIwouldanswer:“Istilldonotknowhow,Pina!“Ijusthadnoideahowtofilmdance-evenafterstudyingallsortsofdancefilms.TheTanztheaterofPinaBauschhassuchfreedomandjoyenergy,suchphysicality,andissofulloflife,Ireallydidnotknowhowtofilmitappropriately-untilonedayIcaughtthefirstglimpseofthenewdigital3D,in2007.That’swhenIcalledPina,stillfromthecinema:“NowIknowhow,Pina.”Ididn’thavetosaymore,sheunderstood.
And you started immediately?
Ittookalittlebitlonger.Atcloserinspection,thetechnologywasnotready.Itwasgoodenoughforanimationandblockbustermovies,buttorendermovementsnaturallywehadtowait.Wethenstartedtoplanthemovietwoyearsago,andpreparedtheshootforthefallof2009-thefirstmoment,really,ourprojectwastechnicallypossible.Well,andthenPinawassuddenlygone.Iimmediatelypulledtheplugandstoppedthepreparations.Afterall,thefilmwascompletelywrittenforandwithPina.Wewantedtowatchherinrehearsals,accompanyherontourwithherensemble,andPinawouldhaveintroducedasherselftoherkingdom...
Onlyweekslateritdawnedonus:thepiecesthatPinaandIhadputtogetherontheprogrammeofhertheatresothattheycouldbefilmed,wereabouttoberehearsedbythedancers,anditwastheywhoweresaying:“Inthecomingmonthswewillperformallthepiecesyoubothwantedtorecordsomuch.Youcannotleaveusalone.Youhavetofilmthis!Nowmorethanever!”Andtheywereabsolutelyright!RightnowPina’slookwasstilloneverything!WethereforetookuptheprojectagainwiththeaimthatinOctoberwecouldatleastrecord“CaféMüller”,“LeSacreduPrintemps”and“Vollmond”in3D.Wewerenotabletoachieveanymoreatthatmoment.Afterall,thewholeconcepthadtoberadicallychanged.Fromajointfilm,whichwehadplannedtoco-direct,wenowhadtoswitchtosomethingentirelydifferent.OnlyonthesecondandthirdshootinAprilandJune2010,wewerefinallyabletobringthefilmtoanend.
Was there already material with Pina Bausch?
No,wenevershotanythingtogether.Shediedon30June;wehadagreedtomeetwithour3DteaminWuppertaltwodayslaterforthefirsttestshootwithherdancers,sothatPinacouldseesomethingin3D.Pinaneversawanything.Well,shedidnotjustwanttoseeanythingin3D,shewantedtoseeherowndancers.Thenshewouldunderstanditbetter,shesaid.AndInevergotthechancemyselftohaveherinfrontofthecamera.MywifeDonatatookpicturesofher,that’sall.ButPinaisstillinthemovie.Therearenewpossibilitiestoincludedocumentarymaterialandtwo-dimensionalimagesintoa3Dproject.
How developed is the technology?
Duringthefirsttestsitshowedthatthetechnologywasnotasdevelopedaswehadhoped.AsPinawasnolongerthere,Ifeltevenmoreobligedthatthisthree-dimensionalimagereallylookedas
nEW CinEMaTiC TErriTory 3DinTErViEW WiTH WiM WEnDErS
20
fantasticasIhadpromisedher.Anaturalreproductionandperceptionofspacewasnecessary,justasifweasspectatorsstandbeforethestage,orbetter:rightonit.
This sounds easier than it probably was.
Thefirsttestimageswerefrightening.Wequicklyrealisedthatallerrorsin2Dmultiplyin3Dandraisethepoweroftwo.If,forexample,youpanthecamerawiththedancersonstage,itquicklyhappensthattheimagesuffersastrobe-likeeffectandisunnaturallyjerky.In2D,weknowhowtoavoidit:wehavetopanslower.In3D,itdidnotseemtobepreventableatall.Anyquickmovementofthearmofadancerproducedtheimpressionthatforafractionofasecondyouwouldlookattwo,threeorfourarms.Filmalsodoesnotrendereverymovementonthescreenfluently-onlythatbynowwehavegotusedtoitsowenolongernoticeit.Butin3D,anyvisualmistakewassuddenlyhugeandallovertheplace.
You could shoot at a higher frame rate…
Correct,you’dhavetoshoot50framespersecondinsteadoftheusual24.Wetriedthis,andtheresultwassensational,beautiful.Butimmediatelytherewasasetback:wecouldindeedshootthisway,butwecouldnotplayitinthecinemas,becausetheonlystandardfor3Daroundtheworldis24frames.WestruggledwiththeInstituteinAmerica,whichisresponsibleforthisstandard,andsoonbecameawarethatwewalkedinthefootstepsofJamesCameron.HealsodesperatelytriedtoconvincethemthatAvatarwouldbelookbetterwhenshotwith50or60frames.Buttheydidnotlethim.
Could you learn from AVATAR?
Iwatcheditrepeatedlyandquicklynoticedthatalthoughthecomputer-animatedavatarsmovedbeautifullyandgracefully-likeIwantedourdancerstomove-butasfortherealpeoplerunningaroundinAVATAR,justlookatthebackground,–youcanhardlysitandwatchthem.Allthemistakeswehadnoticedinourowntestweretheretobeseenaswell.Somebodyhardlymoves,andimmediatelythreeorfourarmsorlegscanbeseen.Movementsaresimplynotroundandsmooth.Youdon’tnoticethistoomuch,becausemostofitiscomputer-generatedandworkswell,andCameroncutsveryfast.Inshort,
theyhadthesameproblemaswedid,buttheycouldcoveritupbetter.However,wewantedandhadtoshoot100%reallife,wehadnocomputerimagestohelpus.Ourdancershadtomoveelegantlyandfluently!Wehadtofirstfindouthowtooutwitthetechnology,sothatmovementslookednaturalagain.
What is the solution to the problem?
Inprincipleonehastorememberthecinema.Thedigitalcamerasmakealotofverysharpindividualframes.Theyprovideaveryprecisereproduction,sothattheblurrinessoftheimage,whichwehavesowonderfullybecomeaccustomedtoonfilm,doesnotexistanymore.Thiscanbeartificiallyre-producedbymotionblur,oryoushootwithadifferentshutter.
Weavoidedlenschangesandbasicallyshotthefilmon2focallengths,butbothofthemquitewide,sotheywouldbothverymuchhavetheangleofournaturalvision.Overall,wetriedtofollowasmuchaspossiblethephysiologyofhumaneyes.
3Disdevelopingfast.InOctober2009,westillshotwithamassivecranethatlookedlikeadinosaurstandinginthemiddleofthetheatreandfillinghalftheauditorium,a“TechnoCrane”,whichcanpenetratefarintothestageandhighupandcancarrytheweightofthecamera-rigwiththemirror...
... two cameras, that stand close together like two eyes, and thus imitate the effect of spatial vision...
Intheoryyes.Thetechnologyisnotyetsodevelopedthatonecouldshootononecamerawithtwolenses,soyouneedtwocameras.Thesecannotstandnexttoeachother,becausetheirhousingandespeciallythehugelensesdonotallowfortheaveragedistanceofsixcentimetersbetweenbotheyes.Sotheymustbeputontopofoneanotherandconnectedbyasemi-transparentmirror.Butthisswallowsplentyoflight.Thewholethingisahugeapparatus,operatedbymanymotors.
The exact opposite to the light-footed dancer...
Aremote-controlledmonster,requiringfivepeopletooperateallfunctions.Nevertheless,wecouldmovethisthingquitesmoothly.Butjustfivemonthslater,
21
duringoursecondshootinApril,weshotalmostexclusivelywithaprototypeofaSteadycam.Thecamerahastomovein3D,that’sessential.Ifitremainsstatic,alargepartofthespatialeffectiswasted.Youdonotneedtoperformhugebackandforthmovements.Justslowtrackingshotspayoffwonderfully,becausetheymovethewholeroomandmakeitthespacemoreperceptible.
You stand for the third time at the forefront of technical development. First with HAMMETT, where you tried out Coppola’s electronic studio, then with BUENA VISTA SOCIAL CLUB, your first high-resolution digital film. Is the current technological leap the most radical?
Ohyes!BUENAVISTASOCIALCLUBwasthefirstcompletelydigitaldocumentarythatwentintothecinemas,butformebothaestheticallyandfromaworkingmethoditdidnotproducearadicalupheaval-onlythatthefilmwouldsimplyjustnothavebeenpossibleonfilm.16-or35-mmcamerasstillmakesomuchnoise,thatyoucouldnotrecordacousticmusicinanyrecordingstudiointheworld.Thedigitalcamerashavealsoallowedustoreallyshootaroundtheclock,andwhenwestoppedonceinawhilethemusicianswereverydisappointed:“Whatishappening,don’tyouloveusanymore?”Technologyhasgivenuswings,butitwasnotfundamentallyadifferentwayofworking.
That’s why working with 3D today is a huge leap forward.
Iwasenthusedfromthefirstframeonthatweproduced.Onecouldsaythatthistechniquestartedonthewrongfoot.Atthemomentweonlyknowanimationorcomputer-generatedextravaganzasin3D.Filmsthatwereshotinfrontofrealscenerystillhardlyexist.Ibelievethefutureofthistechnologydoesnotnecessarilyliewhereitisbeingusedatthemoment,infantasyfilms.Itwasthesameinthebeginningofdigitaltechnology:itwasusedinadvertising,atfirstitwascostly,andwasusedforspecialeffectsonexpensiveAmericanfilms,whocouldaffordit.Atthattimenoonewouldhavethoughtthatdigitalcinemawouldultimatelysaveandre-inventdocumentaryfilmmaking.Ithinkitwillbesimilarfor3Dtechnology.Onceithasestablisheditselfwithsmallerandlightercameras–whichisonlyamatteroftime-itwillcreateawholenewapproachforreality-drivenfilms.
Questions and answers from a panel discussion with Wim Wenders, 29 June 2010 at the Media Forum Film - International Film Conference NRW, entitled: “Technology versus Content - 3D as a new opportunity, “ moderated by Hanns-Georg Rodek
22
New possibilities with digital 3D technology
Digitaltechnologyallowscompletecontroloftheimagefortheentireproductionprocessofafilm:fromthefilming,tothepost-production,tothescreeningintheaters.Thusdigitaltechnologyhasbeeninstrumentalintherecent3Dboom,overcomingthedifficultiesofanalog3Dformatthatplaguedthepreviouswavesinthe50’sand80’s.Digitalcamerasrunsynchronizedand,likedigitalprojectors,offeranabsolutelystableimage;botharecrucialfortheperceptionof3D.WhenwebeganpreparingPINA,theavailabilityofcomplexequipmentandexperiencedprofessionalswasstilllimited.Luckily,wemettheexperiencedstereographerAlainDerobe,whonotonlyfamiliarizeduswiththemirror-rigshehaddeveloped,butalsoenricheduswithhisknowledgeandenthusiasm.
Preparation of the 3-D shoot
Wepreparedforthefilmingwithaseriesofelaboratetests.Inthesummerof2009,twomonthsbeforethescheduledfilming,wecarriedoutatestshootinWuppertal,involvingthefilmcrewandtheTanztheater´sdancersandteam,employingthesameequipmentwewouldthenuseforthemainshooting.Theaimwastosimulatetheshootingprocessandtotestthereliabilityofthetechnicalsystems.Thesetestshotswerethenpost-producedandscreenedinacinema.Wecarriedoutsmallertestsrightuptothemainshoot,painstakinglyacquiringthecomplexknowledgeof3D.TheTanztheater´stightschedulerestrictedtheshootingschedule;wesimplycouldnotafforderrorsandreshoots.
A complex 3D live system
WimWendersandthe3DSupervisorFrançoisGarnierdevelopedasophisticatedsystemtocontrolthetelescopiccrane,whichwassetupintheaudience.Forthispurposetheydividedthefloorplanofthetheaterspaceintoavirtualcheckerboardandusedaprotractor,whichcorrespondedexactlywiththeviewingangleofthecameralens.Usingvideorecordingsofpreviousperformances,WendersandGarniercouldwriteadetailedschedulenotingpreciselywhereonthequadrantthecamerashouldbepositioned,atanygivenmomentduringtheperformance.Duringrehearsalsandshootings,thedirectorrelatedtheseinstructionsviaradiolinktotheteammembers.
The 3D technology used
Toshootin3Dyouneedtwocamerasmountedeitherside-by-sideorinaso-calledmirror-rig.Inthelatter,camerasarepositionedatanangleof90°.Aone-waymirrorisinstalledinbetweenthem,ata45°angletothetwolinesofsight.Onecamerafilmsthroughthemirror,theotherfilmsitsreflection.ThevariousrigsusedonPINA´ssetwereallprototypes,optimizedbyAlainDerobeforourshoot.ThetwocamerasystemsweusedwerebothmadebySony:largestudiocameras(HDC-1500)foruseonthetelescopiccrane,andsmallermobileunits(HDC-P1)fortheSteadycam.3Dlimitsthechoiceoffocallength;wide-anglelensescausedistortion,whilelongfocallensescreatesasilhouetteeffect.Extensivetestsledustothreelenses:DigiPrimeswithfocallengthsof10mm,14mmand20mm.Sincechangingthelensesina3Drigistime-consuming-andwehadlittletimetospare-thefocallengthforeachsceneneededtobeclearlyestablishedbeforeshootingbegan.
nEW CinEMaTiC TErriTory 3D (parT ii)
3D proDUCEr ErWin M. SCHMiDT TalKS aBoUT THE proDUCTion proCESS
23
Onsetweusedaspecial3DTransvideomonitortocalibratetherigsandtocontrolthe3Deffect.Themonitordepictstheoutputofbothleftandrightcamerasassuperimposedanaglyphimages,sothatthepixeloffsetbetweenthetwoimagesisvisible.Inadditiontotheexperienceandcreativityofourstereographyteam,thismonitorwasthemostimportanttool.
Challenges of live recording and 3D outdoor shooting
Werecordedthefourdancepieceslive,duringsold-outperformances.Therefore,wecouldnotinterferewithordisturbthedancersonstage.Yetwewantedthe3Drigascloseaspossibletothem.Theuseofalong,telescopiccranegaveusthispossibility.Ofcourse,thedancershadsomeinitialqualmsaboutagianteyedancingwiththemonthestage,butthissoonevaporated.Wecouldthuscaptureincrediblycloseanddynamicimages,givingtheviewerthesenseofbeingonstagewiththedancers.
3Dlovesdepth-that’swhythesolosofthedancersoutsidethetheatrespaceareaperfectcomplementtothedanceperformancesonstage.ThesespectacularsceneswereshotinstrikinglocationsthroughoutWuppertalanditssurroundingareas:streets,forests,mountainslopes,industriallandscapes,andofcourseontheWuppertalSuspendedMonorail.
24
BornasPhilippineBauschin1940inSolingen;underhernicknamePinashewilllaterachieveinternationalreputationwithherTanztheaterbasedinnearbyWuppertal.HerparentsrunaninnaspartofahotelinSolingen,wherePina,likehersiblings,lentahand.Shelearnstoobservepeople;aboveall,whatmovespeopledeepdown.Inherlaterworksmallpiecesofthisearlychildhoodenvironmentseemtoresound:thesoundofmusic,peoplecomingandgoing,tellingoftheirlongingforhappiness.Butalsotheearlyexperienceofwarisreflectedinthepieces,assuddenoutburstsofpanicandfearofananonymousthreat.
FollowingfirstexperiencesatSolingen’schildren’sballet,attheageof14PinaBauschstartedherdancetrainingattheFolkwangHochschuleunderKurtJooss.BeforeandaftertheSecondWorldWar,JoosswasadistinguishedrepresentativeoftheGermanmoderndancemovement,whichhadfreeditselffromtheshacklesofclassicalballet.Inhisteaching,however,hereconciledthefreespiritofdancerevolutionarieswiththeprinciplesofballet.Thisishowtheyoungdancestudentlearnedcreativefreedomaswellasreachingproficiencyinaclearform.Alsoimportantwastheproximitytootherarts,whicharealsotaughtattheFolkwangHochschule:opera,music,drama,sculpture,painting,photography,design,andmore.Thiswhollyopenapproachwillinfluencethechoiceofmethodsinherworkaschoreographer.
In1958shewasawardedtheFolkwang-PriceandarmedwithagrantfromtheGermanAcademicExchangeService,sheleavesforoneyearasaspecialstudentattheJuilliardSchoolofMusictoNewYork.ThecityisaMeccaofdance,whereclassicalballetisbeingreinventedbythelikesofGeorgeBalanchine,aswellasthedevelopmentofmoderndance.PinaBausch’steachersincludeAntonyTudor,JoséLimón,anddancersoftheMarthaGrahamDanceCompany,AlfredoCorvino,andMargaretCraske.Asadancershe
workedwithPaulTaylor,PaulSanasardoandDonyaFeuer.Wheneverpossibleshevisitsshows,absorbingallthetrends.EnthusedbythevarietyofartisticlifeinNewYorksheextendsherstaybyanotheryear;thistimehowevershehastopayforherupkeepherself.AntonyTudorengagesherattheMetropolitanOpera.Theproximitytotheoperaandtherespectformusicaltraditionwillplayapartinherlaterworkaswillherloveforjazz.Thestrictdistinctionbetweenso-called“serious”and“entertaining”musicinGermanywillplaynopartforher.Allmusic,aslongasitinvokesdeepfeelings,hasthesamevalue.
AftertwoyearsKurtJoossasksherreturnbacktoEssen.HehassucceededinrevivingtheFolkwangBallet,laterknownastheFolkwangDanceStudio.PinaBauschdancesolderandnewworksbyJooss,andassistshimwithchoreography.IntheabsenceofsufficientworksfortheFolkwangDanceStudio,shebeginstochoreographherself,developingpiecessuchas“Fragment“or“ImWindderZeit”forwhichshereceivesthefirstprizeattheChoreographicCompetitioninColognein1969.Asaguest,shechoreographsfirstworksforWuppertal,whichareperformedbymembersoftheFolkwangDanceStudio:“AktionenfürTänzer”in1971and“Tannhäuser-Bacchanal“in1972.Forthe1973/74seasonsheishiredbytheWuppertalDirectorArnoWüstenhöferasheadoftheWuppertalBallet,whichshequicklyrenamestheTanztheater.Thename,developedbackinthe1920sbyRudolfvonLaban,isastatement.Itstandsforadisengagementfrommeredanceroutineandacompletefreedominthechoiceandmeansofexpression.
InquicksuccessionPinadevelopsnewgenres.WiththetwoGluckoperas,“IphigeniainTauris”(1974)and“OrpheusandEurydice”(1975)shedevelopsthefirsttwodanceoperas.In“IchbringdichumdieEcke...“(1974),sheentersthetrivialworldofpopmusic,“Comedancewithme”usesoldfolksongs,“Renateemigrates”(both
BioGrapHiESPINA BAUSCH – DANCER, CHOREOGRAPHER
25
1977)playswithclichésoftheoperetta.HerchoreographyofIgorStravinsky’s“LeSacreduPrintemps“(1975)wastobecomehermilestone.Thephysicalimmediacyandemotionalimpactofthispiecearetomarkherwork.FromKurtJooss,shehaslearned“honestyandaccuracy”.Thechoreographerunderstandshowtotakeadvantageofbothvirtuesforadramaticenergy,whichwasunknownuntilthen.DuringthefirstyearsinWuppertalthisleadstoupsettingthepressandpublic.Theconfrontationwiththetruemotivesbehindmovementhurts.Thesadnessandlonelinessin“Bluebeard-WhenlisteningtoataperecordingofBelaBartok’soperaDukeBluebeard’sCastle‘”(1977),inwhichpassagesofmusicarerepeatedagainandagain,whichmanyfeelastorture.Butfromthebeginning,PinaBauschdisplaysnexttohertalentfordramaalsohumor,asintheBrecht/Weilldouble-bill“TheSevenDeadlySins”and“Donotbeafraid”from1976.Inthesecondpart,collagedfreelytogetherandshowingmeninwomen’sclothesasthechoreographerplayswithentrenchedstereotypes,isbothentertainingandamusing.
In1978PinaBauschchangedthewaysheworked.InvitedbydirectorPeterZadekinBochumtodevelopherversionofShakespeare’sMacbeth,thechoreographerfindsherselfcaughtout.Alargeproportionofherownensemblenolongerwanttocontinuewithherwork,asthereislittleconventionaldancinginvolvedinit.SoshecaststheBochumproductionwithonlyfourdancers,fiveactorsandasinger.Assheisunabletousechoreographedstepswiththiscast,shebeginstoaskherperformersassociativequestionsonthesubjectofthepiece.Whentheresultofthisjointsearchispremieredon22April1978inBochum,underthelongtitle“Hetakesherbythehandandleadsherintothecastle,followedbytheothers”,itisalmostdrownedunderthestormofprotestfromtheaudience.However,inusingthisunusualmove,PinaBauschhasfinallyfoundashapeforherwork,withitsdreamlike,poeticimagesandlanguageofmovementbeingthereasonfortherapidonsetofglobalsuccess.Startingwiththebasichumanemotions,withthefearsandneedsaswellasthewishesanddesires,theWuppertalTanztheaternotonlyisunderstoodworldwide,butalsotriggersaninternationalchoreographicrevolution.ThesecretofthissuccessmaybethattheTanztheaterofPinaBauschrisksafreshlookatrealityandatthesametimefordaydreaming.Ittakestheaudiencein
theireverydaylifeseriouslyandequallyencouragestheirhopethateverythingwillturnoutwell.Fortheirparttheyarecalledupontotakeresponsibilitythemselves.AllthemenandwomeninPinaBausch’spiecescandoistestwithutmostaccuracyandhonestywhatbringseachclosertohappinessandwhatpushesthemawayfromit;patentedremediesarenotprovided.Buttheyalwayssendhometheiraudiencesintheknowledgethat-withallitsupsanddowns-lifecanbesurvived.
InJanuary1980,PinaBausch’slongtimelifepartnerRolfBorzikdied.IntheearlyyearshisstagedesignsandcostumessignificantlyinfluencedtheappearanceoftheTanztheater.Followinghisdeath,PeterPabst(stage)andMarionCito(costumes)tookoverhiswork.Thecreatedspacesarepoetic,oftenmovingtheoutsideinsideandthestageexpandedintoalandscape.Thesearephysicalspaces,whicharechangingmovements.Waterandrainletthebodiesshinethroughtheclothes;soilturnseverymovementintoaHerculeantask,leavestracethestepsofthedancers.ThevariationofthespacesrangesfromperiodroomstothebarewoodenfloorboardsofJapaneseminimalism.Thecostumescanbeaselegantastheyarebizarre-fromagreateveninggowntothechild’sdelightindisguise.Justlikethepieces,thestageandcostumesreflecteverydaylifeandbeyond,butalwaysinthedirectionofawonderfulbeautyandease.Whatininfancyisoftenoverlooked:thehumorandbeauty,evenifitliesintheseeminglyugly,isunderstoodbetterthepassingoftheyears.GraduallywhatitisabouttheTanztheateritbecomesclear:notaprovocationbutinPinaBausch’swords-“aspacewherewecanmeeteachother.“
TheinternationaldevelopmentoftheTanztheaterresultedinnumerousco-productions:“Viktor”,“PalermoPalermo”and“ODido”incooperationwithItaly,“DanceEveningII(TanzabendII)”inMadrid,“Atragedy(EinTrauerspiel)”inVienna,“OnlyYou(NurDu)”inLosAngeles,“TheWindowCleaner(DerFensterputzer)”inHongKong,“MasurcaFogo”inLisbon,“Meadows(Wiesenland)”inBudapest,“Água”inBrazil,“NefésinIstanbul,”TenChi”inTokyo,”RoughCut”inSeoul,”BambooBlues“inIndia,andlastlyanewpiece2009,aco-productionwithChile,forwhichPinaBauschwillnolongerbeabletogiveatitle.Thework,whichatfirstwassocontroversial,hasfinallydeveloped
26
intoaworldtheatre,whichcanholdalltheculturalcolorsandtreatseveryonewiththesamerespect.Itisnotatheatrethatwantstoteach,butonethatwantstocreateafundamentalexperienceoflifethateveryviewerisinvitedtosharewiththedancers.Thisworldtheatreisgenerous,relaxedinitsperceptionoftheworld,andverycharmingtoitsaudience.Itofferstomakepeacewithlifeandtrustsinitsowncourageandownstrength.Asamediatorbetweencultures,itisanambassadorofpeaceandmutualunderstanding.Itisatheatrethatkeepsitselffreeofanyideologyanddogma,whichlooksattheworldasprejudice-freeaspossibleandtakesnoteoflife-inallitsfacets.Fromthediscoveriesofthatjourney,whichbeginsanewwitheachpiece,fromthemanysmallscenesand–moreandmorewitheachpassingyear-aworldofgreatcomplexity,fullofsurprisingtwistsaddsitselftothedances.TheTanztheaterWuppertalfeelsobligedtoonlyoneprinciple:thepeopleandthusahumanismthatknowsnoboundaries.
ForherworkPinaBauschreceivesnumerousawardsandhonours,includingtheBessieAwardinNewYork(1984),theGermanDanceAward(1995),theBerlinTheatreAward(1997),thePraemiumImperialeinJapan(1999),theNijinskyAwardinMonteCarlo,theGoldenMaskinMoscow(2005),theGoethePrizeofFrankfurt/Main(2008).InJune2007,sheispresentedwithaGoldenLionattheVeniceBiennaleforherlife’swork,andinNovemberofsameyeartheprestigiousKyotoPrize.TheGermanGovernmenthonorsherwiththeGreatCrossofMerit(1997),theFrenchwiththetitleCommandeurdel’OrdredesArtsetdeLettres(1991)andKnightoftheLegionofHonour(2003).Manyuniversitiesgiveheranhonorarydoctorate.
On30June2009PinaBausch’slifejourneyends.Herworkshowsherasoneofthemostimportantchoreographersofthe20thCentury.
1973FRITZAneveningofdancebyPinaBauschMusic:GustavMahler,WolfgangHufschmidtThisprogramwascompletedby“TheGreenTable“choreographyKurtJoossand“Rodeo“choreographyAgnèsdeMille
IPHIGENIE AUF TAURIS (IPHIGENIA IN TAURIS)DanceoperabyPinaBauschMusic:ChristophW.Gluck
1974ICH BRING DICH UM DIE ECKE (I’LL DO YOU IN)PopmusicballetbyPinaBausch
ADAGIO – FIVE SONGS BY GUSTAV MAHLERbyPinaBausch
1975ORPHEUS AND EURYDIKEDanceoperabyPinaBauschMusic:ChristophW.Gluck
FRÜHLINGSOPFERWIND VON WESTDER ZWEITE FRÜHLINGLE SACRE DU PRINTEMPS (THE RITE OF SPRING)byPinaBauschMusic:IgorStravinsky
1976DIE SIEBEN TODSÜNDEN (THE SEVEN DEADLY SINS)TheSevenDeadlySinsOfThePettyBourgeoisieDon’tBeAfraidAneveningofdancebyPinaBauschMusic:KurtWeillText:BertoltBrecht
1977BLAUBART – BEIM ANHÖREN EINER TONBANDAUFNAHME VON BÉLA BARTÓKS “HERZOG BLAUBARTS BURG“(BLUEBEARD – WHILE LISTENING TO A TAPED RECORDING OF BELA BARTOK’S “DUKE BLUEBEARD’S CASTLE”)ApiecebyPinaBausch
WorKS By pina BaUSCH
27
KOMM TANZ MIT MIR (COME DANCE WITH ME)ApiecebyPinaBausch
RENATE WANDERT AUS (RENATE EMIGRATES)OperettabyPinaBausch
1978ER NIMMT SIE AN DER HAND UND FÜHRT SIE IN DAS SCHLOSS, DIE ANDEREN FOLGEN...(HE TAKES HER BY THE HAND AND LEADS HER INTO THE CASTLE, THE OTHERS FOLOW…)ApiecebyPinaBausch,IncoproductionwithSchauspielhausBochum
CAFÉ MÜLLERApiecebyPinaBausch
KONTAKTHOFApiecebyPinaBausch
1979ARIEN (ARIAS)ApiecebyPinaBausch
KEUSCHHEITSLEGENDE (LEGEND OF CHASTITY)ApiecebyPinaBausch
19801980 ApiecebyPinaBausch
1981BANDONEONApiecebyPinaBausch
1982WALZERApiecebyPinaBauschIncoproductionwith“Holland-Festival“
NELKEN (CARNATIONS)ApiecebyPinaBausch
1984AUF DEM GEBIRGE HAT MAN EIN GESCHREI GEHÖRT (ON THE MOUNTAIN A CRY WAS HEARD)ApiecebyPinaBausch
1985TWO CIGARETTES IN THE DARKApiecebyPinaBausch
1986VIKTORApiecebyPinaBauschIncoproductionwithTeatroArgentina,Rome
1987AHNENApiecebyPinaBausch
1989PALERMO PALERMOApiecebyPinaBauschIncoproductionwithTeatroBiondoPalermoandAndresNeumannInternational
1990DIE KLAGE DER KAISERINFilmbyPinaBausch
1991TANZABEND IIApiecebyPinaBauschIncoproductionwithFestivaldeOtoño,Madrid
1993DAS STÜCK MIT DEM SCHIFF(THE PIECE WITH THE SHIP)ApiecebyPinaBausch
1994EIN TRAUERSPIELApiecebyPinaBauschIncoproductionwiththeWienerFestwochen
1995DANZÓNApiecebyPinaBausch
1996NUR DU (ONLY YOU)ApiecebyPinaBauschIncoproductionwiththeUniversityofCaliforniainLosAngeles,theArizonaStateUniversity,theUniversityofCaliforniainBerkley,theUniversityofTexasinAustinandDarleneNeelPresentationsandRenaShaganAssociates,Inc.andTheMusicCenterInc.
1997DER FENSTERPUTZER (THE WINDOW CLEANER)ApiecebyPinaBauschIncoproductionwiththeHongKongArtsFestivalSocietyandGoetheInstitutHongKong
28
1998MASURCA FOGOApiecebyPinaBauschIncoproductionwiththeEXPO98LisbonandtheGoetheInstitutLisbon
1999O DIDOApiecebyPinaBauschIncoproductionwiththeTeatroArgentinainRomandAndresNeumannInternational
2000KONTAKTHOFWithladiesandgentlemenfromage“65“ApiecebyPinaBausch
WIESENLANDApiecebyPinaBauschIncoproductionwiththeGoetheInstitutBudapestandtheThéâtredelaVilleParis
2001ÁGUAApiecebyPinaBauschIncoproductionwithBrazil,theGoetheInstitutSaoPaolo,andEmilioKalil
2002FÜR DIE KINDER VON GESTERN, HEUTE UND MORGEN(FOR THE CHILDREN OF YESTERDAY, TODAY AND TOMORROW)ApiecebyPinaBausch
2003NEFÉSApiecebyPinaBauschIncoproductionwiththeInternationalIstanbulTheatreFestivalandtheIstanbulFoundationofCultureandArts
2004TEN CHIApiecebyPinaBauschIncoproductionwithSaitamaPrefecture,SaitamaArtsFoundation,Japan,andNipponCulturalCenter
2005ROUGH CUTApiecebyPinaBauschIncoproductionwithLGArtsCenterandtheGoetheInstitutSeoul,Korea
2006VOLLMOND (FULL MOON)ApiecebyPinaBausch
2007BAMBOO BLUESApiecebyPinaBauschIncoproductionwiththeGoetheInstitutesinIndia
2008SWEET MAMBOApiecebyPinaBausch
KONTAKTHOFWithTeenagersfromage14ApiecebyPinaBausch
2009“...COMO EL MUSGUITO EN LA PIEDRA,AY SI, SI, SI ...“IncoproductionwithFestivalInternacionaldeTeatroSantiagoaMilinChileandwiththesupportofGoethe-InstitutChile.
For a list of awards and honors for Pina Bausch, visit the websitewww.pina-bausch.de/pina_bausch/ehrungen.php
29
WimWendersranksamongtheimportantdirectorsofworldcinemaandisoneoftheleadingrepresentativesof“NewGermanFilm.”Undeterredbyfleetingtrendsandbigstudiooffershehasstucktohisgunsandkepthiseagernesstoexperiment.
BorninDüsseldorfon14August1945,hestartedtakingphotographsattheageof7,ownedhisowndarkroomat12andat17hisfirstLeica.Hestudiedmedicineandphilosophybeforesettlingin1966asapainterandengraverinMontparnasse,Paris.Inhissparetime,hewatchedallthemoviesthatwereshowingattheCinémathèque,includingmanyGermanclassics.Helaidthefoundationforhiscareerasafilmmakerin1967,whenheenrolledatthenewlyfounded“AcademyofFilmandTelevision”inMunich.Inthelate60shemadeseveralshortfilms,whichwereinfluencedbytheso-called“NewAmericanUnderground”inthestyleofWarhol:longscenes,uneventfulandwithanopennarrative.Hisfeaturefilmdebutwasin1970withhisgraduationfilm,theblackandwhitefilmSUMMERINTHECITY.
WimWenderswasoneofthe15directorsandwriterswhoin1971foundedtheFilmVerlagderAutorentohandleproduction,rightsanddistributionoftheirfilms,bothtogetherandindependently.HisprofessionalcareerasadirectorbeganthatyearwiththefilmadaptationofPeterHandke’snovelTHEGOALKEEPER’SFEAROFTHEPENALTYforwhichhewasawardedthePrizeoftheInternationalFilmCriticsinVenice.
InALICEINTHECITIES(1973),THEWRONGMOVE(1974)andKINGSOFTHEROAD(1975)WimWendersturnstocharacterswhohavetodealwiththeirlackofrootsinpost-warGermanyandisawardedseveralGermanandinternationalfilmprizes.Thesethreefilms,aswellasthethrillerTHEAMERICANFRIEND(1977,byPatriciaHighsmith)withDennisHopperandBrunoGanzintheleadroles,grappledwiththerapidchangeofhisowncountry.WimWenders‘extraordinaryloveforthecinemaandrockn‘roll,coupledwiththe
affectionatecuriosityoftheobservertotheworldthatsurroundsus,runstothisdaythroughtheentiretyofhiswork.THEAMERICANFRIENDmakeshimknownintheU.S.,resultinginhisnextprojectwithFrancisFordCoppolawhoin1978invitedWenderstotheU.S.HestartedtoworkonHAMMETTforZoetropeStudios.ThemoviewasmeanttobeatributetotheAmericancrimewriterDashiellHammett,butthelengthyartisticdisputesmeantthatthefilmwasnotfinisheduntil1982.TheconflictsthatWimWendershadtoendureduringthedifficultproductionprocess,heworkedoutinSTATEOFTHINGS(1982),asomberreflectiononfilmmaking.ForthisfilmWendersreceivestheGoldenLionforBestFilmattheVeniceFilmFestival.
TogetherwithSamShepardhediscoveredhisnextstoryintheTexasdesert:aspeechlessman,apparentlywithoutmemory,searchesforalinktohispast.WiththeroadmoviePARIS,TEXAS(withNastassjaKinskiandHarryDeanStanton),thedirectorwon,amongstothers,the1984GoldenPalmatCannesandtheBestDirectorawardoftheBritishAcademyofFilmandTelevisionArts.
InthedividedBerlin,in1987,theangelsofthecitygavehimthefilmWINGSOFDESIRE.ThecinematicfairytalewithBrunoGanzasanangel,whofortheloveofawomangivesuphisimmortality,continueshispreviousworldwidesuccess.InCannes,hewontheawardforBestDirector,aswellastheEuropeanFilmAwardandtheGermanFilmPrize.In1990Wendersrealizeshisambitioussciencefictionproject,whichhadbeeninplanningfor12years:UNTILTHEENDOFTHEWORLD.Thefilmcostwellover$20millionandwasfilmedaroundtheworldonfourcontinents.Butforcedbydistributioncontracts,Wendershastoreleasethefilminashortenedversion.Hisown“Director’sCut”willnotbereleasedforanother12years.
WithBrunoGanz,OttoSander,PeterFalkandotherstars,in1993WendersfilmedinreunifiedBerlinthecontinuationofhis
WIM WENDERSWriTEr, DirECTor, proDUCEr
30
angelstory:FARAWAY,SOCLOSE!ThiswasfollowedbyasecondlongstayinAmerica,whichbeganin1996withTHEENDOFVIOLENCE.In2000WendersdirectedinLosAngelesatragic-comicstorybyU2singerBono.WithTHEMILLIONDOLLARHOTELWenderscreatedastoryoffriendship,betrayalandtheoverwhelmingpowerofunconditionallove.AttheBerlinalehewashonoredwiththeSilverBear.
ThroughouthiscareerWendersshotanumberofunconventionaldocumentaries,includingLIGHTNINGOVERWATER(1980),amovingportrayalaboutandwithNicholasRay,followedbyTOKYO-GA(1985),atributetotheJapanesedirectorYasujiroOzuwhosefilm“TokyoStory”hashadalastinginfluenceonWenders,andNOTEBOOKONCITIESANDCLOTHES(1989),anexplorationoftheworkoftheavant-gardefashiondesignerYohjiYamamoto.HealsodirectedseveralmusicvideosandtheconcertfilmWILLIENELSONATTEATRO(1998).
Withoutdoubt,hisbest-knownobservationofmusicandmusiciansisthedocumentaryBUENAVISTASOCIALCLUB(1999).InthislovingportraitRyCooderrediscoversCubanmusicians,amongthemIbrahimFerrer,RubenGonzalesandCompanySegundo.ThefilmevenreceivedanOscarnomination.THESOULOFAMAN,afilmabouthisbluesheroesBlindWillieJohnson,JBLenoirandSkipJames,followed.In2002WendersmadeafilmabouthisfriendWolfgangNiedeckenandhisColognebandODETOCOLOGNE–AROCK‘N’ROLLFILM.Thelong-standingfriendshipwiththeDüsseldorfband“DieTotenHosen”eventuallyleadstothefeaturefilmPALERMOSHOOTING,withCampinoandDennisHopperintheleadroles.In2008heiswiththisfilmincompetitionfortheninthtimeattheCannesFilmFestival.
In1987hepublishedhisfirstbook,“WrittenintheWest”,withphotographsfromtheAmericanWest.Todate,numerousotherbooksfollowed,includingessays,photobooksandaccompanyingpublicationsforhisfilmsandexhibitions,includingthebook“PicturesfromtheSurfaceoftheEarth”.Museumsandgalleriesaroundtheworldhaveshownhisphotographsinsoloexhibitions.
Inthe1990sWimWendersbecamefirstchairmanandlaterpresidentoftheEuropeanFilmAcademy.Since2003heteachesasaprofessorattheCollegeofFineArtsinHamburg.HereceivedhonorarydoctoratesfromtheFacultédesArtsetdesLettresofSorbonne,Paris;thetheologicalfacultyoftheUniversityofFribourginSwitzerland;theUniversitéCatholiquedeLouvaininFrance;andtheFacultyofArchitectureattheUniversityofCatania.In2006,WenderswasthefirstfilmmakeroftheOrder“PourleMérite”.Heliveswithhiswife,photographerDonataWenders,inBerlinandhashisownproductioncompany“NeueRoadMovies“.
31
1967 Schauplätze
1967 SamePlayerShootsAgain
1968 SilverCity
1968 Polizeifilm
1969 Alabama:2000LightYearsFrom Home
1969 3AmericanLP’s
1974 AusderFamiliederPanzerechsen/ DieInsel
1982 ReverseAngle
1982 Chambre666(Room666)
1992 Arisha,theBearandStoneRing
2002 TwelveMilestoTrona (TenMinutesOlder–TheTrumpet)
2007 LosInvisibles:InvisibleCrimes
2007 WarinPeace
2008 PersontoPerson(“8”–Compilation)
2009 IlVolo(3D)
2010 IfBuildingsCouldTalk (3Dvideoinstallation)
FilMoGrapHy WiM WEnDErSSHorTS
1970 SUMMERINTHECITY (dedicatedtotheKinks)
1971 THEGOALKEEPER’SFEAROFTHE PENALTY
1972 THESCARLETLETTER
1973 ALICEINTHECITIES
1975 THEWRONGMOVE
1976 KINGSOFTHEROAD
THEAMERICANFRIEND
1980 LIGHTNINGOVERWATER
1982 HAMMETT
1982 THESTATEOFTHINGS
1984 PARIS,TEXAS
1985 TOKYO-GA
1987 WINGSOFDESIRE
1989 NOTEBOOKONCITIESAND CLOTHES
1991 UNTILTHEENDOFTHEWORLD
1993 FARAWAY,SOCLOSE!
1994 LISBONSTORY
1995 BEYONDTHECLOUDS (withM.Antonioni)
1996 ATRICKOFTHELIGHT (theBrothersSkladanowsky)
1997 THEENDOFVIOLENCE
1998 BUENAVISTASOCIALCLUB
1989 WILLIENELSONATTHETEATRO
2000 THEMILLIONDOLLARHOTEL
2002 ODETOCOLOGNE:AROCK‘N’ ROLLFILM
2003 THESOULOFAMAN (partfourofTheBluesSeries)
2003 LANDOFPLENTY
2004 DON’TCOMEKNOCKING
2008 PALERMOSHOOTING
2011 PINA(3D)
FEaTUrES and DoCUMEnTariES
For a list of awards and honors for Wim Wenders, visit the websitewww.wim-wenders.com/bio/awards.htm
32
Gian-PieroRingelstudiedpsychologyandbusinessadministrationattheFreeUniversityofBerlin.Whilstatuniversityheworkedasaproductionassistantandproductionmanageronvariousfilmproductions.From2002to2006,RingelcontinuedhisstudiesattheGermanFilmandTelevisionAcademy(dffb)concentratingonProduction.Whilestillastudenthefoundedhisowncompany,RINGELFilmProduktionin2004.In2006heproducedtheshortfilmTHEMEASUREOFTHINGS,directedbySvenBohse,whichwasnominatedforthe33rdAnnualStudentAcademyAwardbytheAcademyofMotionPictureArtsandSciences.Thatsameyear,RingeltogetherwithAngelaSchanelec
(writer,director,producer)producedhisfirstfeaturefilmAFTERNOON.Ithaditsworldpremierein2007attheForumoftheBerlinale.TogetherwithWimWendersRingelthenproducedhisfirstinternationalproductionPALERMOSHOOTING,whichwasselectedfortheofficialcompetitionoftheCannesFilmFestival2008.In2009followedAngelaSchanelec’snewfeaturefilmORLY,whichpremieredintheBerlinaleForum,andinthesameyearwasawarded“BestFilm”attheFestivalofGermanFilmsinLudwigshafen.Today,Gian-PieroRingel,togetherwithWimWenders,isjointmanagingpartnerofNeueRoadMoviesGmbHandproducerofthe3DdancemoviePINA.
GIAN-PIERO RINGEL – proDUCEr
PeterPabstisusedtocrossingboundaries.Since1979hehasbeenafreelancingsetandcostumedesignerintheatre,opera,dance,filmandtelevision,anduptonowhascreatedstagesetsandcostumesformorethan100theatreandfilmproductions,includingtheRockShow“DröhnlandSymphony“,theexhibition“Spaces-Dreams“attheMuseumBochum,thebook“PETERforPINA”,andhastaughtinBeijingandShanghai.HisworkhastakenhimtoalmostallmajorEuropeancities,toAmerica,andAsia.HehasworkedwithLucBondy,KlausMariaBrandauer,UdoLindenberg,JohnSchaaf,IstvanSzabo,JürgenFlimm,RobertCarsen,ChenShiZheng,TancredDorst,AndreiSerbanandmanyothers.Buthismainworkingpartners
havebeenPeterZadek,withwhomhehasalongworkingrelationshipandpersonalfriendship,andaboveall,PinaBauschandherTanztheaterWuppertal.In1980hedesignedhisfirstsetforapiecebyPinaBausch.Thiswasthebeginningofanexceptionallycloseartisticandpersonalrelationship,asymbioticcollaborationthatlasteduntilthedeathofthegreatchoreographerin2009.Duringtheseyears,PeterPabstdesignedandrealised25“play-rooms”forPinaBausch,including“VOLLMOND(FullMoon)”.PeterPabsthasbeenawardedtheKainzMedaloftheCityofVienna,hasbeenappointedChevalierdesArtsetdesLettresinFrance,andawardedthetitleofProfessorbytheMinisterPresidentofNRW.
PETER PABST – arT DirECTor
Bornin1950intheDordogne,DominiqueMercydiscoveredhislovefordanceasateenager.HewasjustfifteenyearsoldwhenheenteredthecompanyoftheGrandThéâtredeBordeaux.Afterthreeyears,hejoinedtheBalletTheatreContemporaininAmiens,wherethedirectorwaslookingforaconnectionbetweendance,visualartandmusic–asimilarconceptasattheFolkwangHochschuleinEssen,wheretheyoungPinaBauschhadbeentrained.DominiqueMercyandPinaBauschmetin1971attheSaratogaSummerFestivalintheU.S.,wherethedancerwasteaching.Forthe1973/74seasonshehiredhimforhernewly
establishedballetinWuppertal,whichshesoonnamedTanztheater.Sincethen,MercyhasbeenconnectedtotheWuppertalTanztheater.Helefttheensembleseveraltimesinordertoundertakehisownprojects,andamongotherthings,heandthedancerMalouAiraudofoundedtheirownensemble.Mercy,however,keptcomingbacktoWuppertal.AfterthedeathofPinaBausch,DominiqueMercytogetherwithRobertSturm,theAssistantDirectorofthechoreographer,tookovertheartisticdirectionofTanztheaterWuppertalPinaBausch.
DOMINIQUE MERCY – arTiSTiC ConSUlTanT
33
ThebeginningofhisprofessionalworkinthetheatreinitiallyledRobertSturmtoHungary.Thereheworkedfrom1993,firstasassistantdirectoranddramatistatthenewlyformedBudapestArtTheatreandthenattheThaliaTheatre.From1997hebegantomakehisownstageproductions,attheSzigligetiTheatreinSzolnokandattheChamberTheatreandattheNewTheatreinBudapest.Twoyearslater,theNationalTheatreInstituteinBudapestaskedhimtoassistPinaBauschandher
dancersduringtheirresearchfortheirHungarian-piece“Wiesenland”.ThiswasfollowedbytheofferofPinaBauschtoaccompanytherehearsalsofthepieceinWuppertal.Startingin2000,hewashiredasherartisticassistantattheTanztheaterWuppertal.AfterthesuddendeathofPinaBausch,RobertSturm,togetherwiththedancerDominiqueMercy,tookontheroleofartisticleadershipoftheTanztheaterWuppertalPinaBausch.
ROBERT STURM– artistic Consultant
Since1980,MarionCitohasbeendesigningthecostumesfortheensembleofTanztheaterWuppertal.OriginallyfromBerlinandadancerherself,sheknowswhatthecostumeshavetoendureduringthedancesfrompersonalexperience.AsaprincipaldancerattheDeutscheOper,sheworkedwiththechoreographerTatjanaGsovsky.ShealsoappearedinproductionsbyGeorgeBalanchine,AntonyTudorandJohnCranko.In1976MarionCitojoinedtheTanztheaterWuppertal.Forhealthreasonsshedidnotwantcontinuetodance,butconcentrateonworkasanassistant.
However,PinaBauschconvincedhertotakepartasadancerinpiecessuchas“Blaubart–beimAnhöreneinerTonbandaufnahmevonBélaBartok’sOper‚HerzogBlaubartsBurg’“,“Komm–tanzmitmir“,“Renatewandertaus“and”Arien“IncooperationwithPinaBausch’scostumeandsetdesignerRolfBorzik,MarionCitodiscoveredherpassionforcostumes.Whenhediedin1980,PinaBauschaskedhertotakeonthecostumedepartment.MarionCitotookoverthenewroleasdesigner,andafewmonthslaterthefirstproductionwithhercostumes“1980-ApiecebyPinaBausch”premiered.
MARION CITO – Costumes
RolfBorzikwasbornin1944inPosenanddiedin1980inEssen.HestudiedgraphicartanddesignattheFolkwangHochschule,wherehemetdancerandchoreographerPinaBausch.From1973untilhisuntimelydeath,hedesignedthesetsandcostumesfortheTanztheaterWuppertalandthusdecisivelyshapeditsface.Borzikdesignedextraordinarysetsandclothes:aspoeticascontemporaryanddeeplyrootedinlife
itself.Hekeptplayingwithnaturalelements(water,earth,etc.),hiscostumesseemfromeverydaylifeandareatonceelegantandopulent.Throughhiswork,heopenedanentirelynewperspectiveondancespaceandclothing,astyleiconfarbeyondhisdeath.ThesetsandcostumesfortherecordedpiecesinPINA“LeSacreduPrintemps”,“CaféMüller”and“Kontakthof”aredesignsbyRolfBorzik.
ROLF BORZIK – Set and Costume Design until 1980
34
From1966to1990AlainDerobeworkedasacameramanandwasinvolvedinmorethan20featuresandnumerouscommercials.From1992on,hespecialisedinthree-dimensionalphotographyandlargeformatcinema.Hedevelopedvarioussystemsthatarerequiredforstereoscopicrecordings(suchasthe3DRigbyP&STechnik).AlainDerobeisthefounderoftheAFC(AssociationofFrenchCameramen)andPresidentofUP3D,theAssociationofFrenchStereographers.AsastereographerhewasinvolvedinmanyFrench3D
films,includingSAFARI3D,CAMARGUE,CHARTREUX,IRRUPTION,HÉROSDENIMES,RÉVEILDESGÉANTS,aswellasfilmsforthemeparks,museumsandevents.Today,AlainDerobe,isoneoftheEuropeanpioneersofthe3Dcinema,primarilyactiveasastereographer.Additionally,healsoadvisesvariouscompaniesinthe3Dfield,suchasTransvideo(monitors)orIridas(software).
ALAIN DEROBE – STErEoGrapHEr
Since1989HélèneLouvarthasworkedasacinematographer,bothinfeaturesanddocumentaries.Since1989,shewasbehindthecameraonmorethan17documentariesand40featurefilms.HerfirstinternationalsuccesscameatthesideofdirectorSandrineVeyssetin1996withthefilmWILLITSNOWFORCHRISTMAS?Thefilmreceived,amongothers,theFIPRESCIPrizeattheViennale1996andtheSpecialJuryPrizeattheParisFilmFestival.HélèneLouvartandSandrineVeyssetcontinued
theirsuccessfulcollaborationduringinthefollowingyears,includingin2000withMARTHA...MARTHA.FordirectorJacquesDoillonLouvartshotthefeaturefilmRAJA,whichwasnominatedfortheGoldenLionattheVeniceFilmFestivalin2004.In2008HélèneLouvartcollaboratedonthememoirsofthedirectorAgnesVarda.Thismovie,calledTHEBEACHESOFAGNES,receivedboththeCésarandtheEtoiled’Or2009inthecategory“BestDocumentary”.
HÉLÈNE LOUVART – CinEMaToGrapHy
FrançoisGarnierisoneofthepioneersofEuropeancomputergraphics.AsoneofthefirstmediadesignersinFrance,heexploredthecreativepossibilitiesofthistechnology.Between1984and1989hedesignedanddevelopednumerousaward-winningproductions.Healsoworkedwithrenownedvideoartistsofexperimentalfilmsandinstallations.In2000,GarnierwasoneofthefoundersoftheAmakStudios.Thiscompanydesignsandproducesfilms,digitalartinstallationsandinteractive
programsformuseums,themeparksandinternationalevents.TheAmakStudiossetthestandardforstereoscopicfilmsandinteractiveinstallationsinreal-timeand3DinEurope.GarnierisalsoaprofessorattheEcoleNationaleSuperieurdesArtsDecoratifsinParis.FrançoisGarnierisinvolvedas3DSupervisorinWimWenders3DdancemoviePINA.
FRANÇOIS GARNIER – 3D SUpErViSor
35
From2000to2005ErwinM.SchmidtstudiedproductionattheGermanFilmandTelevisionAcademy(dffb).From2004hewasinvolvedaslineproducerinanumberofinternationalart-housefilms.AmongstthemYOU,THELIVINGbyRoyAndersson(Sweden),DELTAbyKornelMundruczo(Hungary),AngelaSchanelec’sORLYandWOMENWITHOUTMEN,thefirstfeaturefilmoftheTehran-bornartistShirinNeshat.Withher,ErwinSchmidtalsoworkedonvideoinstallationsfromtheseriesWOMENWITHOUTMEN.Since
2008,ErwinSchmidthasbeenworkingforNeueRoadMoviesandas3DProducerforPINA.HealsoproducedWenders3DvideoinstallationIFBUILDINGSCOULDTALK...,whichpremieredinAugust2010attheArchitectureBiennaleinVenice.Inadditiontohisproductionwork,Schmidtcoordinates“CineLinkWorkinProgress”attheSarajevoFilmFestivalinBosnia-Herzegovina.
ERWIN M. SCHMIDT – 3D proDUCEr
Toni(Thomas)FroschhammerworkedasamusicianandmusicproducerforbandslikeEmLoomesorFriskySiscoinhisownrecordingstudio.From2001to2006heworkedasaneditorfortheBerlinpost-productioncompany“FXFactory”andin2002tookonfirstdirectingprojects.In2007Froschhammerwentindependentwiththecompany“Schnittbar”.HeworkedmostlyinadvertisingforVodafone,LBS,RenaultandT-Mobile,butalsoeditedmusicvideosforbandssuchas
Rammstein,DepecheMode,Rosenstolz,andDieFantastischenVier,aswellasshortfilmssuchasDANGLE,KURZFASSENandFROMUPTILLDOWN.In2009hefounded“FroschhammerFilmGmbH”andbeginseditingthe3DdancefilmPINAbyWimWenders.SinceOctober2010hehasworkedwithPepeDanquartonthedocumentaryJOSCHKAFISCHER-DERLETZTEROCK’N’ROLLERDERPOLITIK.
TONI FROSCHHAMMER – Editor
FortwodecadestheECHOAwardwinnerThomHanreichhasbeenworkingasasuccessfulsinger,songwriter,composerandproducer.Hehasreleasedthreealbumswithhisband“Vivid”,andtwosoloalbumsunderhisstagename“Thom”.Theybroughthim,amongotherthings,atop5hitinJapanandanAsiantour.Sincethenhehasworkedworldwideasacomposerandsongwriter.Thomalreadycomposedthesoundtracks
forWimWenders’LANDOFPLENTYandsongsforPALERMOSHOOTING,aswellasthemusicfortheshortfilmWARINPEACE.In2010Thomworkedonhisnewsoloalbum,composedmusicforWenderscontributiontotheBiennalefilmIFBUILDINGSCOULDTALK...abouttheRolexLearningCenterofthearchitectKazujoSejima,andwrotemusicforthe3DdancemoviePINA.HanreichlivesinBerlin.
THOM HANREICH – CoMpoSEr