1 Temmuz 2009 Çarşamba


Liebe Pina,

du warst die wichtigste Bezugsperson für so viele Tänzer, Choreographen, Regisseure, Bildende Künstler. Dein großes Herz und deine Neugier, deine tiefe Humanität, deine Offenheit hat Ausdruck gefunden in deiner Arbeit, deinen vielen unbeschreiblichen Stücken aber auch in den letzten Jahren in deinem „Fest mit Pina“, wo du uns alle an deinen Tisch geladen hast, mit dir das Leben und den Tanz in all seinen Schattierungen zu feiern. Ich versuche meinen Kindern zu erklären, wer du bist und kann nur sagen: Sie ist die Mutter des modernen Tanzes.


We have lost one of the most important artists of our time.
Pina, wir trauern um dich.

Lyon, den 30. Juni 2009


"Durch ihren Tod verliert die internationale Tanzszene eine ihrer innovativsten Choreografinnen. Wie Isadora Duncan hat Pina Bausch alle in der Tanzszene aufgerüttelt und dazu gebracht, über die Ehrlichkeit der eigenen Arbeit nachzudenken. Wie bei Isadora Duncan kann ich mir auch für Pina Bausch keinen Nachfolger vorstellen. Pina Bausch hat die Grenzen dessen, was man Tanz nennt unendlich erweitert und dadurch ein neues ganz anderes Publikum für diese Kunst gewonnen. Ihre Choreografie zu Strawinskys ‚Le Sacre du Printemps’ – das Anbeten realer Erde – wird mir immer als einer der Höhepunkt des zeitgenössischen Tanztheaters im Gedächtnis bleiben. Die heutige zweite Vorstellung der ‚Hommage aux Ballets Russes’ mit ‚Le Sacre du Printemps’ in Millicent Hodsons Version, die durch Vaslaw Nijinskys Originalchoreografie von 1913 inspiriert ist, widme ich Pinas Andenken. - Wir haben beide im gleichen Jahr begonnen, unsere Compagnien, basierend auf eigenen Choreografien, aufzubauen. Wir haben uns nicht sehr oft gesehen, einander aber sehr respektiert. Ich werde Pina Bausch sehr vermissen."

John Neumeier


"Pina Bauschs plötzlicher Tod macht mich sehr betroffen und traurig. Während der Proben zur Uraufführung 2009 vor wenigen Tagen durfte ich Frau Bausch als ganz besonders einfühlsam und mit großem Respekt für ihre Tänzer erleben.
Seit 1975 gehörte Pina Bausch zu meinem Leben. Sie wird mir sehr fehlen."

Ursula Kaufmann

Spanish filmmaker Pedro Almodovar on Tuesday hailed German choreographer Pina Bausch as a "revelation" who "always inspired me".
"With a perennial cigarette in her hand, and her indescribable smile, Pina Bausch established a turning point in contemporary dance for the last quarter of the last century," he said in a statement.
Bausch, the grande dame of modern dance choreography, died on Tuesday aged 68, the theatre in the western city of Wuppertal where she was director for over 35 years said.
Her work featured Almodovar's 2002 arthouse hit "Habla con ella" ("Talk To Her").
"Pina let me show her magic at the end of 'Talk to Her'," Almodovar said.
"Our friendship was intense and forever. Pina was very feminine and very sensual."
He said the two agreed on many issues, "both artistic and personal (the eclectic use of music and of women as an icon)."
She "was a constant source of pleasure. She sparked very diverse emotions in me and always inspired me," he said.


"Was Pina Bausch gemacht hat, ist eine der größten künstlerischen Leistungen nach dem Krieg gewesen."

Johann Kresnik


"I was deeply distressed to hear the news of the death of Pina Bausch. She was an artist of the kind that the world is only blessed with from time to time. Her repertoire of works has inspired generations of audiences and artists with an impact that is hard to overestimate. She was a dear friend to me and I will miss her greatly. There is now a big hole in my life, and that of countless others. My thoughts at this time are with Ronald her husband, Rolf her son, and her other family, the members of the Tanztheater Wuppertal who must be deeply traumatised by this loss."

Alistair Spalding


Dance in Peace Pina

Slyvie Guillem


Pina Bausch is dead.

The sudden and abrupt end of her life and her creativityshocked her family, her friends, dancers, collaboratorsand admirers of her art all over the world.

We are in mourning.

Pina will continue to influence all of uswho were in touch with herand who experienced the magic of her workas well as the righteousness and tenderness of her lookat us and at our times.

I'm brokenheartedthat we started our long-envisioned collaboration and filmtoo late.

Wim Wenders


For me, Pina's work was a trigger when I saw it in the early 80s. She opened a lot of doors for many of us. She was the first one to ask questions of her dancers and use the answers to make performances. She had little lists of questions. They could go from the absurd, like "What did you eat for Christmas?" to "How do you feel about love?" There were a thousand other questions in between. It was quite revolutionary. Many of us use that method now.
Her masterpiece is without doubt Café Müller. I was asked in 2001 to organise a dance festival, and I contacted Pina. Everyone told me that it would be impossible, that she never showed only Café Müller – and that she would never show it just for one evening. But she invited me to Wuppertal, and we talked, and she came! She came to the festival to show Café Müller in a theatre that was too small for the set to fit in.
The way she talked about her own and others' performances was very subtle and poetic. What I liked about her was that she would never talk about your work in terms of good and bad; she would always try to understand why somebody would do something.
I probably will not be the only one who was extremely in love with her. She would give you a lot of attention in a very positive way. She would share you with the people she was with. She was extremely intelligent and sensitive – and, in that way, a mirror of her own performances.

Alain Platel


An artist of true inspiration, Pina Bausch has changed the dance and theatre landscape forever. Always provocative, her amazing body of work stands testament to her enduring vision, innovation and creativity.

Wayne McGregor


My last beautiful encounter with Pina was a night in an Antwerp restaurant a year ago. They closed the restaurant especially for us in order that we could smoke. Pina was a great lady, a great artist, and a fantastic smoker! I imagine that she died with a cigarette in her mouth: you have to stay loyal to the things that kill you.

Jan Fabre


When Pina Bausch first came to London in 1982, I remember swathes of audience members walking out and many critics sullenly dismissing her work as "not dance", "structureless" or "self-indulgent", and some still do. But Bausch was not a person to kowtow to audiences' or critics' demands to change her work. The rewards of that singular, uncompromising vision mean that nowadays for every person leaving one of her shows, there are 20 others waiting for their seat.

Bausch understood that dance and linear narrative weren't always the best vehicles for discussing the human condition. Even if you were a disciple of her work from the outset, like I was, her work could delight you but just as easily frustrate and annoy you. That was her magnificence. Bausch made you feel. She had the courage to relentlessly pursue, on stage, her own fascinations and obsessions about time and human relations no matter how minuscule or epic those ideas might be; and that was her genius.
It is rare to find dance- or theatre-makers with such vision and courage. Her work truly allowed people to see the world from another perspective that, had she not been around, we would never have known. Her legacy is monumental.

Llyod Newson

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