christiana morganti - nefes
pina bausch'un vefatının ardından dansçılarından hiç biri basına konuşmamıştı. sadece topluluğun müdiresi cornelia albrecht kısa açıklamalar yapıyordu.
takip edebildiğim kadarıyla sanırım ilk defa dansçılar pina bausch'un kaybı hakkında konuşuyorlar.
topluluğun bu hafta sonu edinburgh festivali'nde sahneleyeceği "agua" öncesinde, gazeteci chitra ramaswamy "agua"yı geçtiğimiz temmuz ayındaki atina temsillerinde izlemiş ve bu sırada dansçılarla konuşmuş.
işte dikkatimi çekenler:
Kristiana Morgante, 42, an Italian dancer who has been with the company for 18 years, remembers Peter Pabst, Bausch's close friend and set designer for 30 years, bringing them together, giving them the news, and telling them the show must go on. "At first we thought we just couldn't do it," she says. "But Peter said 'you all know that Pina never, ever cancelled a performance in 35 years. She would not want us to do that.' He was very clear. So we said we would try."
Jorge Porta Armenta, 37, a Columbian dancer who joined Tanztheater Wuppertal 13 years ago remembers how he felt when he heard the news. "I was just floating. I didn't know where I was."
Tanztheater Wuppertal did dance that night, performing Nefes (Breath), an appropriately melancholic, brooding work that Bausch created in Istanbul in 2002. The standing ovation lasted half an hour. "Each of us has a solo in that piece," Morgante recalls. "We all watched each other and I felt we danced more beautifully than we had ever done. There was a lot of dignity. But it was too much for us to come out for the applause. We weren't able to do it.
"During the performance nobody became overemotional," she goes on. "Everyone was very centred and very pure. It was like each of us was following Pina's corrections perfectly. And Pina gave a lot of corrections." Morgante smiles. The following day the company continued on to Italy, still in shock, still determined to keep dancing.
...
"It feels right to go on at the moment," says Morgante, who first saw Tanztheater Wuppertal in Rome, in 1986, when she was 17. A classically trained dancer, Morgante immediately knew Bausch's choreographic style - singular, open, grounded in emotion as much as painstaking technique - was for her. "It's like we're doing what she would have liked. But I don't know how long it will stay like this. Of course we miss her but to keep working is a good way to cope with that because suddenly she is there."
Robert Sturm, a neat, softly-spoken German, became Bausch's assistant director in 2000. Following her death, he and Dominique Mercy, one of the dancers with whom Bausch formed the Tanztheater Wuppertal in 1973 (and who dances in Agua), became joint artistic directors. They both agreed they would only do it together. "The company could have exploded," Sturm admits. "Each of us was there because of Pina. Because of her work, her personality. We were chosen by her. It could have gone either way."
...
What was she like in the rehearsal studio? "You always had to give everything," he says. "She was very tough, but very soft. She had a genius for looking at people. She could fix you with her stare. You would be working and feel her watching you. She could look at you and see who you really were as a dancer."
Morgante also speaks about Bausch's ability to look at the world, and the people in it. "She trained us to self correct," she says. "Her details were so small.
She would see the tiniest thing, even if you were right at the back of the stage and all the action was at the front. She was always looking at you. It's impossible for any of us to find that again, someone who can look at you in that way. And to Pina everything was dance, even bringing a chair on to the stage. She was a maestro of artistic sensibility."
...
"She was very shy and very strong," says Sturm. "I never heard her shout at anyone but then she didn't need to. She had such a strong presence. She just didn't like to talk about her work. She once said to me that she always knew exactly what she was looking for but never the form it would take. Yet when she saw it, she immediately recognised it. This is how she was as an artist and a person. I'll always remember her freedom. There were no rules with Pina."
...
"We are just trying to continue," says Sturm. "It's not about replacing her. It's about keeping the pieces as they are and at this level of quality. Of course to avoid becoming a museum we must add something new." At this stage, they don't yet know what that means.
On the other hand, Bausch's dance was so unique in the way it was choreographed on specific individuals that the company is, ironically, already set up to continue. "We all learnt from Pina," Morgante says. "She was full of life, right up to the end. She taught us to carry on. Each one of us could have said I'm going, it makes no sense to stay. To stick together is incredible."
yazının tamamı için tıklayınız.
Kristiana Morgante, 42, an Italian dancer who has been with the company for 18 years, remembers Peter Pabst, Bausch's close friend and set designer for 30 years, bringing them together, giving them the news, and telling them the show must go on. "At first we thought we just couldn't do it," she says. "But Peter said 'you all know that Pina never, ever cancelled a performance in 35 years. She would not want us to do that.' He was very clear. So we said we would try."
Jorge Porta Armenta, 37, a Columbian dancer who joined Tanztheater Wuppertal 13 years ago remembers how he felt when he heard the news. "I was just floating. I didn't know where I was."
Tanztheater Wuppertal did dance that night, performing Nefes (Breath), an appropriately melancholic, brooding work that Bausch created in Istanbul in 2002. The standing ovation lasted half an hour. "Each of us has a solo in that piece," Morgante recalls. "We all watched each other and I felt we danced more beautifully than we had ever done. There was a lot of dignity. But it was too much for us to come out for the applause. We weren't able to do it.
"During the performance nobody became overemotional," she goes on. "Everyone was very centred and very pure. It was like each of us was following Pina's corrections perfectly. And Pina gave a lot of corrections." Morgante smiles. The following day the company continued on to Italy, still in shock, still determined to keep dancing.
...
"It feels right to go on at the moment," says Morgante, who first saw Tanztheater Wuppertal in Rome, in 1986, when she was 17. A classically trained dancer, Morgante immediately knew Bausch's choreographic style - singular, open, grounded in emotion as much as painstaking technique - was for her. "It's like we're doing what she would have liked. But I don't know how long it will stay like this. Of course we miss her but to keep working is a good way to cope with that because suddenly she is there."
Robert Sturm, a neat, softly-spoken German, became Bausch's assistant director in 2000. Following her death, he and Dominique Mercy, one of the dancers with whom Bausch formed the Tanztheater Wuppertal in 1973 (and who dances in Agua), became joint artistic directors. They both agreed they would only do it together. "The company could have exploded," Sturm admits. "Each of us was there because of Pina. Because of her work, her personality. We were chosen by her. It could have gone either way."
...
What was she like in the rehearsal studio? "You always had to give everything," he says. "She was very tough, but very soft. She had a genius for looking at people. She could fix you with her stare. You would be working and feel her watching you. She could look at you and see who you really were as a dancer."
Morgante also speaks about Bausch's ability to look at the world, and the people in it. "She trained us to self correct," she says. "Her details were so small.
She would see the tiniest thing, even if you were right at the back of the stage and all the action was at the front. She was always looking at you. It's impossible for any of us to find that again, someone who can look at you in that way. And to Pina everything was dance, even bringing a chair on to the stage. She was a maestro of artistic sensibility."
...
"She was very shy and very strong," says Sturm. "I never heard her shout at anyone but then she didn't need to. She had such a strong presence. She just didn't like to talk about her work. She once said to me that she always knew exactly what she was looking for but never the form it would take. Yet when she saw it, she immediately recognised it. This is how she was as an artist and a person. I'll always remember her freedom. There were no rules with Pina."
...
"We are just trying to continue," says Sturm. "It's not about replacing her. It's about keeping the pieces as they are and at this level of quality. Of course to avoid becoming a museum we must add something new." At this stage, they don't yet know what that means.
On the other hand, Bausch's dance was so unique in the way it was choreographed on specific individuals that the company is, ironically, already set up to continue. "We all learnt from Pina," Morgante says. "She was full of life, right up to the end. She taught us to carry on. Each one of us could have said I'm going, it makes no sense to stay. To stick together is incredible."
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benzer anlamda, yine ingiliz basınında çıkan ve seyirciyi "agua"ya hazırlayan başka bir yazı için
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