26 Ağustos 2010 Perşembe

"Pina fought hard to bring this kind of work to Wuppertal – I know she didn't want it to disappear."

dominique mercy - bandeneon

daphnis kokkinos - nefes (fotoğraf: ursula kaufmann)

guardian'da gezinirken, geçen gün rastladığım formatta bir yazıya denk geldim; yine ingiliz basınından bir gazeteci, sanırım seyirciyi haftasonu edinburgh festivali'nde sahnelenecek "agua"ya hazırlamak için, yapıtın atina temsillerini izlemiş; dansçılardan bazılarıyla ve topluluğun iki yeni sanat yönetmeni dominique mercy ve robert sturm'la sohbet etmiş; araya da pina bausch'un sanatına dair anektodlarla yazıyı renklendirmiş.

yıllardır sadlers wells'e konuk olan topluluk hakkında ingiliz basınında daha önce bu çerçevede yazılar çıkmamış olduğundan hareketle, topluluğun idari yöneticisi cornelia albrecht'in kafasının pazarlamaya da çalıştığını söyleyebiliriz.

yazıdan dikkatimi çeken satırlar:

"I was on the train for three days," he says. "When I arrived, I hadn't shaved, I'd hardly eaten. I was terrified – I didn't know anyone. But I found my way to Pina's studio, knocked on the door, and said, 'Good morning, I'm Daphnis from Crete.'" Bausch held him in a hug (in so far as her tiny body could envelop a 6ft Greek) and let him stay. Kokkinos has now been dancing with the company for 22 years.


For a dedicated core of Bausch fans (some of whom followed her shows around the world), the work became interwoven with their lives. Dominique Mercy, who has danced with the company since its inception, recalls the overwhelming ovation they received after performing in Paris shortly after Bausch's death. "It wasn't just a reaction to the piece, but to the fact that we were carrying on without Pina. It was quite amazing to realise how close people felt to her work."


They are also getting a profound input from the dancers. Some have been with the company for 20 to 30 years (Bausch enjoyed working with older dancers), but even the younger ones feel a sense of ownership of the material they perform, and want to take on full responsibility for keeping it alive. Sometimes, Mercy admits, this enthusiasm can be a bit much. "We all have different memories, sensitivities and sensibilities about how a work should be performed. But really, it's a beautiful thing. We all have to keep our eyes and our minds open."


Another aspect of international touring is the different reactions from audiences. Kokkinos says the first time he performed in America he was quite fazed by the fact that people started laughing during moments he considered painful. "It's very different in Japan," Morganti adds. "Everyone is very silent. It's only after a performance, when the lights come up, that we can see some of them are crying."
In Madrid, the dancers even caused a minor riot. "We were dancing Nelken," says Morganti. This is Bausch's evocation of a lost arcadia, in which the carnation-covered stage is patrolled by live guard dogs. "People in the very expensive seats started shouting at us and telling us to get off the stage. Then all the young people, the students, started screaming back. We couldn't understand it. We've performed this work from Mexico to India and never had such a reaction."


"We have to find something new that's authentic and honest, but also fits organically with what we do," muses Mercy. "If we do something wrong, we always feel a pinch on our back."
"Even though she's not here," says Sturm, "she hasn't gone away."

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