Pina Bausch

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Pina Bausch (center), January 30, 2009
(from left to right) Pascal Merighi, Dominique Mercy , Pina Bausch, Fernando Suels Mendoza, Peter Pabst

Pina Bausch , actually Philippine Bausch , (born July 27, 1940 in Solingen ; † June 30, 2009 in Wuppertal ) was a German dancer , choreographer , dance teacher and ballet director of the dance theater named after her in Wuppertal . In the 1970s, Pina Bausch became a cult figure on the international dance scene with her development of dance theater . She was considered the most important choreographer of her time in the professional world.

Live and act

Origin and family

Philippine Bausch was born in Solingen in 1940 as the third child of the restaurateurs Anita and August Bausch. The parents ran an inn with a hotel in Solingen-Wald on Focher Strasse. Bausch was born there. For her parents, "Pina" was the common nickname. Like her siblings, she helped out in her parents' hotel restaurant during her childhood. The observations and experiences from this period later found their way into her pieces. According to Wim Wenders , the period in post-war Solingen influenced the later artistic work of Pina Bausch.

From 1970 until his death in January 1980, Pina Bausch lived with Rolf Borzik (* 1944). The two met during their studies at the Folkwang University . Since Bausch was head of the Wuppertal dance theater from 1973, Borzik has designed the stage and costume designs for her plays. In the seven years of their collaboration, Borzik became a “versatile working partner” who thought the pieces “from the inside”. Borzik died of leukemia in 1980 at the age of only 35 .

Six months after Borzik's death, on a tour in Santiago de Chile in July 1980 , Bausch met Ronald Kay , a Chilean poet and professor of aesthetics and literature at the Universidad de Chile . With him, Bausch had their son Rolf-Salomon in 1981, named after Borzik.

In order to look after and manage Pina Bausch's artistic estate, Ronald Kay and Rolf-Salomon Bausch set up the Pina Bausch Foundation after the artist's death .

education

As a child, Pina Bausch took ballet lessons and appeared in children's plays and operettas. In 1955, at the age of 14, she began studying dance with the innovative choreographer Kurt Jooss at the Folkwang School in Essen . In 1958 she completed her studies in stage dance and dance pedagogy with the Folkwang performance award, which was offered for the first time. The training of several artistic professions under one roof at that time encouraged her willingness to integrate more and more genres into her pieces later , as she said in a film interview.

Thanks to the award, she received a scholarship from the DAAD and was able to study in the USA from 1959 to 1962 as a “special student” at the Juilliard School under the direction of Martha Hill in New York . She got to know American modern dance with choreographers such as Louis Horst, José Limón and Antony Tudor . During this time she danced in the dance company of Paul Sanasardo and Donya Feuer as well as for the "New American Ballet". In 1961 she received an engagement at the Metropolitan Opera in New York .

Artistic stations

Soloist in the "Folkwang Ballet" by Kurt Jooss (1962–1968)

After spending three years in the US, Pina Bausch returned to Germany in 1962 at the invitation of Kurt Jooss. Now she danced as a soloist in the “Folkwang Ballet” he founded, and increasingly assisted Jooss in the development of his pieces. With the ballet she toured around the world in the following years.

In 1962, 1964 and 1968 she was seen as a dancer at the Schwetzingen Festival in Baden-Württemberg. In 1967 she worked with the dancer and choreographer Jean Cébron at the “Festival of the Two Worlds Spoleto” in Charleston, USA . In 1968 she danced at the “Jacob's Pillow Dance Festival” in Massachusetts and at the Salzburg Festival .

From 1968 onwards, Pina Bausch increasingly developed her own pieces. Initially, the impetus was a "certain discomfort with the dance-thematic possibilities" as a soloist in the Folkwang Ballet. Her first choreography is called Fragment (1968), a piece for the ensemble of the Folkwang Ballet to music by Béla Bartók . This was followed in the same year by Wind der Zeit (music by Mirko Dorner ), with which she won first prize at the Cologne choreography competition a year later.

Head of the Folkwang Studios and lectureship in Essen (1969–1973)

In 1969, Pina Bausch took over from Kurt Jooss as artistic director of the “Folkwang-Studios”, which emerged from the “Folkwang-Ballet”. In addition, she began to teach as a lecturer at the Folkwang University in Essen-Werden . In 1969 she also appeared in The Fairy Queen , a Kurt Jooss version of the Purcell opera .

In the following years Pina Bausch worked on other pieces. With Nachnull (1970, music: Ivo Malec ) she moved away from the tradition of modern dance for the first time . In 1970 she was invited by the Rotterdam Danscentrum as a guest choreographer. In addition, she gave lessons in modern dance at the “Frankfurt Summer Courses” in Frankfurt am Main.

First commissioned works for the Wuppertal theaters followed , including Actions for Dancers (1971) and Tannhäuser-Bacchanal (1972), which was a "great success". Her choreography Lullaby was also created in 1972 .

In the same year Pina Bausch also worked for the "Dance Company Paul Sanasardo" (New York).

Ballet director at the Wuppertal theaters

Despite her concerns, Arno Wüstenhöfer , the director of the Wuppertaler Bühnen , was able to win over Pina Bausch as head of the ballet division at the beginning of the 1973/74 season. He granted her artistic autonomy, and accordingly the Wuppertal Ballet was renamed Tanztheater Wuppertal at her request .

The first work that she created as the new artistic director in Wuppertal was called Fritz. Dance evening by Pina Bausch (1974, music: Gustav Mahler ). The criticism read of "half an hour of disgust" and "tortured psychologizing".

In contrast, the subsequent dance opera Iphigenie auf Tauris (1974, music: Christoph Willibald Gluck ) was a great success. The press spoke of one of “the most important German ballet events of the season”.

In the same year, two more works were created, which premiered together in December 1974: Adagio - Five Songs by Gustav Mahler , based on Mahler's Kindertotenlieder based on poems by Friedrich Rückert and I bring you around the corner , a hit ballet.

Performance of Le Sacre du Printemps

In 1975 Bausch developed a variant of Orpheus and Eurydice based on modern dance (music: Christoph W. Gluck), in the repertoire of the Paris Opera since 2005 , as well as Spring Sacrifice - a dance evening in three parts with the ballet music by Igor Stravinsky . The last part Le sacre du printemps was later performed independently by the Wuppertal Dance Theater.

For all of these pieces, created in the early seventies, Pina Bausch made use of musical templates, which she worked on to a greater or lesser extent as part of the choreography development. She transformed the “formal stringency and expressive force” of the selected musical works into “a range of movements related to modern dance”. These works already suggest a very unique language of movement. The closed form and dramaturgy of the pieces were in accordance with the conventions of the stage production of the time. In developing further works, Pina Bausch finally turned away from staging with conventional means.

Development of Pina Bausch's dance theater

With a Brecht - Weill evening in 1976 ( The Seven Deadly Sins ), Pina Bausch tried out new forms of dance. She worked on the literary-musical template and developed a collage of individual scenes, which Brecht's texts were spoken, sung and danced on stage in loose succession. In the following year, Bluebeard was created while listening to a tape recording of Béla Bartók's Duke Bluebeard's Castle (1977), which was again accompanied by harsh public criticism. Also in 1977 Bausch produced Komm tanz mit mir (1977) and Renate emigrates (1977).

It was not until the early 1980s that the sometimes sharp criticism of Bausch's work gave way to the first signs of public appreciation, especially with regard to the socially critical significance of her pieces. While the German theater and opera landscape was still dominated by classical dance and a strictly hierarchical way of working in the late sixties / early seventies, it was choreographers such as Gerhard Bohner (1936–1992), Johann Kresnik (1939–2019) and Pina Bausch who broke with conventions and gradually established dance theater as a new genre in the art world. Dealing with everyday topics in a social context is one of the central features.

In 1980 Bausch was first invited to the Berlin Theatertreffen with Arien . In the following year the second invitation followed with Bandoneon , in 1985 the third invitation with Auf dem Gebirge you heard a scream . These prestigious awards show that Bausch's dance theater had found its position as a recognized stage form within the German theater landscape in the 1980s. And she became increasingly successful with her ensemble abroad as well. During this time around 1985, when Bausch also took on the artistic direction of the dance department at the Folkwang University, her company was considered the "most important representative of the German ballet abroad". In 1983, she was with cloves to Avignon Festival invited one of the largest theater festivals worldwide. A year later, in 1984, Pina Bausch received the German Critics' Prize for “the development of new aesthetic standards that go far beyond the German dance scene”.

Scene from Carnations (1982)

Pina Bausch and her ensemble traveled to four continents, which by 1998 extended to 105 cities in 38 countries. In 2006 there were around 300 guest performances in over 40 countries since 1977. The Wuppertal dance theater was on the road for two to three months a year, mainly with the help of the Goethe Institute . The ensemble performed most frequently in France, followed by Italy and the USA in third place and Japan in fourth place.

During longer stays, Pina Bausch was inspired by her surroundings and developed new dance pieces there in cooperation with local dance experts. This is how the pieces Nur Du in Los Angeles , Der Fensterputzer in Hong Kong , Masurca Fogo in Portugal, Wiesenland in Budapest , Água in Brazil, Nefés in Istanbul , Ten Chi in Japan and 2007 Bamboo Blues in India were created. Since the members of her dance company came from many countries, the tours were also a concession to the wanderlust of their dancers. On the other hand, Pina Bausch's sedentarism in the North Rhine-Westphalian industrial city was due to her regular travels. In the international metropolises, too, as in Wuppertal, the initial resistance and rejection of their performances were repeated. But at each of the following appearances, a loyal regular audience formed there, who enthusiastically awaited all of their performances.

In October 1998 the principal celebrated the 25th stage anniversary of her ensemble with a retrospective of her successful pieces. In a large, multi-week dance festival with 428 artists from 31 countries, Pina Bausch was honored as the "Queen" of the international dance art scene.

On the occasion of the 30th stage anniversary of Tanztheater Wuppertal in autumn 2004, choreographies by Sasha Waltz , Akram Khan , Sidi Larbi Cherkaoui and Anne Teresa De Keersmaeker were shown in addition to her pieces .

death

Wuppertal Pina Bausch condolences 0015.jpg
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Condolence for Pina Bausch at the Wuppertaler Schauspielhaus (left) and at the opera house

Pina Bausch died on June 30, 2009, five days after the diagnosis of lung cancer and eighteen days after the world premiere of her last play in the Wuppertal Opera House . She was buried in the Evangelical-Reformed forest cemetery in Elberfeld- Varresbeck . On September 4, 2009, the ensemble, artist colleagues, friends, audience and politicians said goodbye to Pina Bausch with a funeral service in the Wuppertal Opera House. Wim Wenders paid tribute to the artist's life and work in a speech, and the dance theater showed a selection of her works. The funeral was shown on a film screen in the Engelsgarten opposite the Wuppertal Opera.

meaning

The importance of Pina Bausch's work is not limited to an expansion of dance with other genres and media or the renunciation of a certain form, rather her work only gains artistic greatness through its humanity. Compassion and compassion was the most important motivation for her life's work. In one of her rare interviews she once said: "For me it was and is always about: How can I express what I feel?" Through her respect and unconditional trust in her dancers, the ensemble was also able to discover and express its intimate feelings. The dance expert and Pina Bausch biographer Jochen Schmidt emphasized this dimension in his obituary: “Already at the end of the seventies the name Pina Bausch stood for a theater of the liberated body and the liberated spirit, for a dance theater of humanity that is based on the The search was for love, tenderness and trust between the partners - and for a dance language that would be able to enable communication between people that the known languages ​​were no longer capable of. "

Pina Bausch never saw her work as complete and was therefore always looking for improvements in order to be able to depict a gesture or a scene even more truthfully and coherently. The procedural nature and openness of her way of working was the result of this search for truth, her search for authentic expression. To this end, she attended each performance and discussed them with her ensemble the next day. The Wuppertal general manager Gerd Leo Kuck described this intensive way of working as "very unique". In Jochen Schmidt's opinion, Pina Bausch's working style is most likely comparable to that of the Taiwanese choreographer Lin Hwai-min , the founder of the Cloud Gate Dance Theater , because he too questions his ensemble in detail, is very open to new things and is in favor of uses his ensemble.

style

Pina Bausch's first own choreographies were still strongly committed to modern dance . From the Seven Deadly Sins (1976) and above all from Bluebeard , her style changed noticeably and became what would later be her trademark: singing , pantomime , language and everyday gestures played a significant role in the action on the stage. In her own words: "I'm not so interested in how people move as what moves them."

For the first time, Pina Bausch combined dance with the genres of singing, pantomime , artistry and drama to create a new art form. Many experts consider this new art form to be the beginning of dance theater .

She dissolved the conventional plot structure into individual scenes and linked them into thematic contexts by means of collage and montage . The starting point of her pieces was the individual gesture, the representation and expression of a certain feeling. This inner movement was asked about by Pina Bausch and the dancers responded with a remembered act. She contrasted lightheartedness and exuberance with dramatic scenes and thus touched upon the ultimate questions of human existence, which the audience often experienced intensely. Many of her pieces were therefore experienced as extraordinarily radical and moving at the same time.

Question form

Her way of preparing the pieces became famous. In the course of time, Pina Bausch began to ask her dancers questions and tasks on different topics and situations which, according to her intuition, could belong to the respective piece: “Do something very small. Break something off, what is it then? Do something dangerous with a cute object. A gesture that has something to do with helplessness. ”In a portrait that Alice Schwarzer had created, Bausch describes the form of the questions :“ I ask questions. Here in the group. And every now and then I meet something that has to do with what I'm looking for. [...] I rarely ask anything directly. I always ask around corners. Because if the questions are clumsy, the answers can only be clumsy. "

From the improvisations that arose , Bausch selected the material that represented something she had never seen before, and then tried to incorporate this into the piece that was being created. She wrote down all the answers or reactions she received - without evaluation and without comment. In this way a huge collection of materials was created, from which over 90% were sorted out again in the end.

Staging

Pina Bausch's pieces were collages and montages , sequences of images on the border between reality and dream, with many parallel acts that were performed simultaneously on the stage. The repetition of an action was also an important stylistic device for her, for example the repeated repetition of the same scene over and over again (whereby the deviations are particularly emphasized) in bluebeard demanded from the viewer a pronounced psychological resilience and the ability to perceive nuances.

The revue-like pieces followed an inner logic, a stream of consciousness and not an externally coherent story. Pina Bausch worked extremely meticulously and said of herself: “My pieces don't grow from front to back, but from the inside out.” This meant that the sequence of scenes was sometimes not quite fixed at the dress rehearsal . Pina Bausch often made the final decision very late.

ensemble

Production design on flags in Wuppertal

For this approach, she needed dancers who did not conform to an ideal body norm and who also did not embody or demand the classical dance ideal. Rather, they had to deny an ideal of beauty, an ideal invulnerability, and be ready to put themselves on stage as the people and types they are, to use language, to show facial expressions and also to demonstrate weakness. At an age when classical dancers are no longer in demand on stage, Pina Bausch's ensemble members were still dancing.

Pina Bausch once said that she was not so interested in dancers who immediately do everything “really great”. She prefers those who may not yet know themselves completely, whom she may also be able to help to discover something new (Schulze-Reuber, 2005). This required a very close, open and trusting relationship with the dancers in her ensemble, some of whom, such as Dominique Mercy , Jan Minařík , Jo Ann Endicott , Lutz Förster , Felix Ruckert , Helena Pikon and Ruth Amarante , have been over many since the beginning of their careers Worked with her for years.

music

Their choice of music was eclectic too: works by Gershwin were used as well as those by Purcell , Gluck , Tango , old hits or children's songs - whatever served the scene in question, underlined its mood or, by undermining it, added a layer of meaning.

Stage design

The stage design was just as important : Since the visual impression of this type of theater not only depends on the type of movement, the stage design had to underline the externalization of the inner state, convey states and feelings to the audience and offer the ensemble the space to in which the psychological act could unfold. Pina Bausch's first set designer, Rolf Borzik, set standards for her performances with his stage space until his death in January 1980. The use of natural materials such as water, earth, lawn, twigs, carnations, peat or dry leaves to cover the dance floor was particularly striking. The set components were always installed last so as not to influence the dancers' brainstorming processes.

The former Café Müller in Solingen, where Pina Bausch grew up. In 1978 she designed her eponymous piece. Today there is a pharmacy here.

Content

Pina Bausch's pieces dealt with very personal and at the same time universal themes, of fears, terror, death, being abandoned, love and longing and the relationship between the sexes. Children's games were shown, men wore women's clothes, tenderness turned into violence and vice versa. People prostituted themselves in front of each other in order to find a counterpart. The images found were always as unusual as possible. The masks and behaviors that a person displays in society have been grotesquely targeted.

Arien shows the unfortunate love story between a woman and a hippopotamus. In Café Müller (1978) the dancers stumble around tables and chairs on stage, often with their eyes closed.

The pronounced struggle with cold reality and the hopelessness that characterized her early pieces have given way to a greater zest for life, according to the critics.

Audience reactions

The reactions to Pina Bausch's dance theater were divided in the first few years. On the one hand, a permanent group of admirers quickly formed at the Wuppertal Theater. On the other hand, bitter resistance arose among the traditionalists, ranging from boos in the theater to physical attacks such as spitting on to nightly telephone terror. Pina Bausch later spoke of a misunderstanding, as it was never about provocation, but about honesty and truth.

Pina Bausch continued her choreographic work undeterred and achieved world fame by the early 1980s with consistently high quality and her courage to take artistic risks. The German dance theater became an extremely successful German "cultural export" and had an impact on choreographic work around the world.

Pina Bausch Foundation

In 2009, the Pina Bausch Foundation was established in Wuppertal to preserve the artistic legacy of Pina Bausch. The founders and board members are Pina Bausch's last partner, Ronald Kay, and their son Salomon Bausch. There are also plans to open an archive to the public. For many years, video recordings have been made of every performance and some rehearsals; since 2007 they have been made accessible mainly by the dancers Jo Ann Endicott , Barbara Kaufmann and Bénédicte Billiet, and each dance sequence is recorded individually.

According to the foundation, digitizing 7,500 video tapes and setting up a database would cost around 570,000 euros by 2012. So far, the state of North Rhine-Westphalia and the Federal Culture Foundation have agreed to provide a total of 900,000 euros over the next three years. The city of Wuppertal hopes to raise 450,000 euros through sponsors. In June 2011 it was announced that the Dr. Werner Jackstädt Foundation in Wuppertal financially supports the archive. At the beginning of 2012, the video archive contained a data volume of 260 terabytes .

Salomon Bausch stated in June 2011 that the dancers of the ensemble should also be given the opportunity to “pass on their knowledge and experiences in workshops, for example.” The foundation sees itself as a forum in which “new things can arise.” He think in this regard “in decades rather than months.” So far, 120 VHS video tapes from the 1970s have been preserved and digitized, a photo documentation on 650 costumes by Marion Cito and on several stage sets by Peter Pabst as well as an exhibition on Rolf Borzik and the Pina Bausch dance theater .

Together with the Düsseldorf Art Foundation NRW , the Wuppertal Pina Bausch Foundation has been offering graduate funding for young dancers and choreographers since 2015. In this way, studying at important training centers and with experienced mentors should be made easier for interested international students.

Others

For several years the filmmaker Wim Wenders tried to make a documentary about Pina Bausch and her ensemble, but he was undecided about an appropriate recording technique. It was only when he first saw a film in digital 3D technology that he knew how to shoot the dance scenes. With the new spatial experience through 3D technology, the audience should feel right between the dancers. Finally he managed to arrange the start of shooting for September 2009. Pina Bausch died surprisingly on June 30, 2009, and Wenders wrote a farewell poem for her death. After discussions with the ensemble and their approval and encouragement, Wenders continued filming. The documentary is entitled Pina , the four pieces Le sacre du printemps , Café Müller , Kontakthof and Vollmond are at the center of Wenders' 3D recordings. The film premiered on February 13, 2011 at the Berlinale Film Festival in Berlin and was released in cinemas at the end of February 2011. At the 61st German Film Prize , it was awarded as the best documentary film. The artistic directors of the dance theater, Dominique Mercy and Robert Sturm , appointed after Pina Bausch's death, expressed their gratitude for the film project.

After the renaming of the Solingen Hindenburgplatz to Pina-Bausch-Platz in 2010 failed due to the resistance of the CDU parliamentary group and the protest of citizens, a new place or building was looked for to commemorate Pina Bausch in her place of birth. In May 2012, a street in a new development was finally named after the artist, the street is "less than a hundred meters away" from the house where she was born.

In March 2010 a non-partisan Pina Bausch Circle of Friends was founded in Solingen. One goal of the association is to research Pina Bausch's biography in Solingen and the references in her works to Solingen.

In December 2013, the city of Wuppertal honored the artist by renaming the municipal comprehensive school Wuppertal-Vohwinkel to Pina-Bausch-Gesamtschule .

The city of Wuppertal named 2015 the Wuppertal Schauspielhaus in Pina Bausch center has to offer. The theater, which was closed in 2013 for cost reasons, is to be renovated from 2019 to 2022. The federal, state and local authorities share the costs of € 58 million. An extension on the site of the parking lot is to serve as a location for the Wuppertal dance theater, as a production center for guest ensembles, for the Wupperbogen citizens' forum and as an event location for the Pina Bausch Foundation with archive.

From March 4 to July 24, 2016, the Art and Exhibition Hall of the Federal Republic of Germany in Bonn presented the Pina Bausch exhibition and the dance theater . Every day dancers were on site and gave the visitors the opportunity to practice the "carnation line" in workshops.

Works from 1973

  • 1973: Fritz (premiere: January 5, 1974)
            Iphigenie auf Tauris (premiere: April 21, 1974)
  • 1974: Two ties
            I'll take you around the corner and Adagio - Five songs by Gustav Mahler
  • 1975: Orpheus and Eurydice
            Spring Sacrifice
  • 1976: The seven deadly sins (libretto: Bertolt Brecht ; music: Kurt Weill ; ballet with pantomime, dance and song (soprano and male quartet); content: parable about the mendacity of petty-bourgeois double standards; music style: late romanticism and jazz ; genre: parody and musical)
  • 1977: Bluebeard - while listening to a tape recording of Béla Bartók's opera “Duke Bluebeard's Castle”
            Come dance with me
            Renate emigrates
  • 1978: He takes her by the hand and leads her into his castle, the others follow
            Café Müller
            Kontakthof
  • 1979: Arien
            chastity legend
  • 1980: 1980 - A piece by Pina Bausch
             Bandoneon
  • 1982: Waltz
            Carnations
  • 1984: There was screaming in the mountains
  • 1985: Two Cigarettes in the Dark
  • 1986: Viktor
  • 1987: ancestors
  • 1989: Palermo Palermo
  • 1991: Dance evening II
  • 1993: The piece with the ship
  • 1994: A tragedy
  • 1995: Danzón
  • 1996: just you
  • 1997: The window cleaner
  • 1998: Masurca Fogo
  • 1999: O Dido
  • 2000: Wiesenland
            Kontakthof - With women and men aged 65 and over
  • 2001: Água
  • 2002: For the children of yesterday, today and tomorrow
  • 2003: Nefés
  • 2004: Ten Chi
  • 2005: Rough Cut
  • 2006: full moon
  • 2007: Bamboo Blues
  • 2008: Sweet Mambo
            Kontakthof - With teenagers from 14
  • 2009: ... como el musguito en la piedra, ay si, si, si ... (... like the moss on the stone ...)

Awards (excerpt)

Literature (selection)

  • Pina Bausch: Find something that doesn't need a question. ( Memento of December 3, 2013 in the Internet Archive ). Acceptance speech for the Kyoto Prize . In: Inamori Foundation , November 12, 2007, with illustrations, ( PDF , 18 p., 315 kB).
  • Leonetta Bentivoglio: Pina Bausch or The Art of Dancing Over Carnations. Suhrkamp, ​​Frankfurt am Main 2007, ISBN 978-3-518-45859-4 .
  • Gabriele Brandstetter , Gabriele Klein (Hrsg.): Methods of dance studies. Model analyzes for Pina Bausch's “Le Sacre du Printemps”. Transcript Verlag, Bielefeld 2007, ISBN 978-3-89942-558-1 .
  • Guy Delahaye: Pina Bausch. Edition Braus in Wachter-Verlag, Heidelberg 2007, ISBN 978-3-89904-285-6 . (Photo tape)
  • Jo Ann Endicott : I am a decent woman! Suhrkamp, ​​Frankfurt am Main 1999, ISBN 3-518-39502-5 . (Endicott's humorous work journal pays homage to Pina Bausch. She was one of her most important dancers.)
  • Jo Ann Endicott: Waiting for Pina. Records of a dancer. Henschel, Berlin 2009, ISBN 978-3-89487-631-9 . (Second Endicott journal about her work with Pina Bausch as her dancer, assistant and rehearsal director.)
  • Ciane Fernandes: Pina Bausch and the Wuppertal Dance Theater. The Aesthetics of Repetition and Transformation. Lang, Frankfurt am Main 2002, ISBN 0-8204-5251-3 .
  • Bettina Flitner : women with visions - 48 Europeans. With texts by Alice Schwarzer . Knesebeck, Munich 2004, ISBN 3-89660-211-X , pp. 32-37.
  • Raimund Hoghe : Pina Bausch. Dance theater stories. With photos by Ulli Weiss . Suhrkamp, ​​Frankfurt am Main 1986, ISBN 3-518-37837-6 .
  • Angeli Janhsen: Pina Bausch. In: New Art as a Catalyst. Reimer Verlag, Berlin 2012, ISBN 978-3-496-01459-1 , pp. 97-103.
  • Ursula Kaufmann: Pina Bausch and the Tanztheater Wuppertal - Just you. Müller + Busmann, Wuppertal 1998, ISBN 3-928766-34-1 . (Large format photos of the performances from Iphigenie on Tauris in 1974 to Masurca Fogo in 1998.)
  • Ursula Kaufmann (Ed.): Pina Bausch and the Tanztheater Wuppertal. German / Engl. Müller + Busmann, Wuppertal 2002, ISBN 3-928766-53-8 .
  • Ursula Kaufmann: Pina Bausch and the Tanztheater Wuppertal. Edition Panorama, Mannheim 2012, ISBN 978-3-89823-451-1 . (Illustrated book)
  • Gabriele Klein : Pina Bausch and the dance theater. The art of translation. transcript, Bielefeld 2019, ISBN 978-3-8376-4928-4 .
  • Gabriele Klein: Pina Bausch's Dance Theater. Company, Artistic Practices and Reception. transcript, Bielefeld 2020, ISBN 978-3-8376-5055-6 .
  • Stefan Koldehoff / Pina Bausch Foundation (ed.): Original sound from Pina Bausch - interviews and speeches. Nimbus Verlag, Wädenswil 2016, ISBN 978-3-03850-021-6 .
  • Anne Linsel : What moves people - It all began 25 years ago: Pina Bausch, the queen of modern dance, is celebrating her anniversary in October in Wuppertal. In: Süddeutsche Zeitung . No. 192, August 22, 1998, p. III, beginning of the article .
  • Anne Linsel: Pina Bausch. Pictures of a life. Edel-Verlag, Hamburg 2013, hardback, ISBN 978-3-8419-0182-8 . (Photo book with biography.)
  • Alessandro Martinez (Ed.): Sur le traces de Pina Bausch. Tracing Pina Bausch's footsteps. Ubulibri, Milano 2002, ISBN 88-901014-0-7 . (Documentation of the 7th European Theater Prize, 1999)
  • Leonore Mau : Ensemble. Pina Bausch, the Wuppertal dance theater. Portraits. Ed. Diá, St. Gallen 1988, p. 126.
  • Meike Nordmeyer, Oliver Weckbrodt (Ed.): Pina Bausch - A Festival. Photographs by Jochen Viehoff. Verlag Müller + Busmann, Wuppertal 2000, ISBN 3-928766-41-4 .
  • Peter Pabst: Peter for, for, pour Pina. Book about the stage sets by Peter Pabst for plays by Pina Bausch from 1980 to 2009. Edited by the Tanztheater Wuppertal Pina Bausch GmbH. Kettler, Bönen 2010, ISBN 978-3-86206-046-7 .
  • Jochen Schmidt : Pina Bausch. "Dancing Against Fear". Ullstein, Berlin 2002, ISBN 3-548-60259-2 .
  • Rika Schulze-Reuber: The dance theater Pina Bausch: mirror of society. With photographs by Jochen Viehoff. RG Fischer Verlag, Frankfurt am Main, 2nd revised edition 2008, ISBN 978-3-8301-1147-4 (print edition); 3. revised Edition 2015 as an e-book , ISBN 978-3-8301-1689-9 .
  • Alice Schwarzer : Pina Bausch, dance theater maker. In: Alice Schwarzer portrays role models and idols. Kiepenheuer & Witsch, Cologne 2003, ISBN 978-3-462-03341-0 , pp. 166-181. (First published in EMMA 7/1987)
  • Norbert Servos: Pina Bausch. A legend, almost. In: The German Stage . 1990, 61 (5), pp. 8-11.
  • Norbert Servos: Pina Bausch. Dance theater . K. Kieser, Munich 2003, 2nd expanded edition. 2008, ISBN 978-3-935456-20-3 , with a photo essay by Gert Weigelt .
  • Tanztheater Wuppertal - Pina Bausch - Photo Art Calendar 2010. Photographed by Ursula Kaufmann. DuMont calendar publisher, Düsseldorf 2009, ISBN 978-3-8320-1311-0 .
  • Walter Vogel : Pina. Quadriga, Berlin 2001, ISBN 3-88679-360-5 .
  • Marc Wagenbach, Pina Bausch Foundation (Ed.): Inheriting dance. Pina invites you. transcript, Bielefeld 2014, ISBN 978-3-8376-2771-8 .
  • Ulli Weiss (photographs): Sit down and smile. Dance theater by Pina Bausch. Text: Ille Chamier. Prometheus, Cologne 1979, ISBN 3-922009-20 .
  • Wim Wenders : What people say with their movements. The art of Pina Bausch. Ceremonial address for the Frankfurt Goethe Prize 2008; Funeral speech in Wuppertal 2009. In: Sinn und Form . No. 6, 2009, pp. 854-861.
  • Donata and Wim Wenders: Pina. The film and the dancers. Schirmer / Mosel Verlag, Munich 2012, ISBN 978-3-8296-0590-8 . (Review with eight picture examples).

Filmography (selection)

  • 1976: Le sacre du printemps. Dance performance, BR Germany, 36 min., Director: Pina Bausch and Pit Weyrich, production: ZDF , choreography: Pina Bausch, stage and costumes: Rolf Borzik, music: Igor Stravinsky .
    - Recording of a performance by the Wuppertal dance theater.
  • 1982: What are Pina Bausch and her dancers doing in Wuppertal? Documentary, BR Germany, 115 min., Written and directed by Klaus Wildenhahn .
    - Documentation of the rehearsal work of the choreographer and her ensemble for the piece Waltz and the representation of the environment and its inhabitants in an industrial city.
  • 1983: One day Pina asked me. (Original title: Un jour Pina m'a demandé. ) Documentary film, France, 57 min., Director: Chantal Akerman , production: NDR , first broadcast: December 15, 1985, actors: Wuppertaler Tanztheater.
    - Documentation of a European tour, on which the working atmosphere is captured with preparations, rehearsals and scenes. This documentation is considered to be the most successful appreciation of Pina Bausch's oeuvre, it is an encounter between two artists who are similar in spirit and soul.
  • 1983: snapshot. Documentary, BR Germany, 88 min., Director: Clemens Kuby , production: Kuby Film TV, with Pina Bausch and Ariane Mnouchkine .
  • 1983: Fellini's Ship of Dreams . (Original title: E la nave va. ). Feature film, France, Italy, 132 min., Director: Federico Fellini ; Pina Bausch as Principessa Lherimia.
  • 1984: A Primer for Pina. Essay film , Great Britain, 30 min., Screenplay and text: Susan Sontag , production: Channel 4.
    - TV essay using excerpts from Bluebeard , arias , and 1980 - a play by Pina Bausch .
  • 1986: Waltz. Excerpts from the play of the same name. 60 min., Rental: L'Arche Éditeur.
    - The piece, which was premiered in 1982 - wanting to live and have to die between the poles, creating life and destroying life - revealed the characteristic way of working openly on stage for the first time: to work out a piece by asking the dancers.
  • 1987: Café Müller. Dance film, BR Germany, 50 min., Direction and choreography: Pina Bausch, stage and costumes: Rolf Borzik , music: Henry Purcell , production: NDR, distributor: L'Arche Éditeur.
    - Recording of a performance by the Tanztheater Wuppertal.
  • 1989: The Empress's complaint . BR Germany, France, Great Britain, 95 min., Director and screenplay: Pina Bausch, production: Wuppertaler Bühnen, ZDF, L'Arche Éditeur, La Sept, Channel 4 .
    - Wordless collage of absurdly staged scenes that oscillate between comedy and drama; the absurd makes melancholy easy again.
  • 1991: In search of dance. The other theater of Pina Bausch. Documentation, portrait, Germany, 29 min., Director: Patricia Corboud, production: Trans Tel, Cologne; with comments by Pina Bausch and analyzes by the dance critic Jochen Schmidt based on excerpts from arias , Kontakthof , Le Sacre de Printemps , Bluebeard , On the Mountains One Heard A Shouting , Carnations , Bandoneon , Waltz , Palermo, Palermo , The Lament of the Empress .
  • 1992: 1. Un siècle de danse / Dance in the 20th century 2. De la danse libre à la dance theater / From free dance to dance theater 3. L'expressionisme allemand / German expressionism. Documentation, France, 1992, 52:44 min., Director: Sonia Schoonejans, production: La Sept, arte uva, online video .
    - This documentary film shows the development of modern dance in Germany using the example of choreographies by Rudolf von Laban , Mary Wigman , Kurt Jooss , Oskar Schlemmer , Hanya Holm , Dore Hoyer , Gret Palucca , Birgit Cullberg and Pina Bausch.
  • 1992: Sample Sacre. Director: Detlef Erler, France, 45 min., Distributor: L'Arche Éditeur.
    - Pina Bausch and Kyomi Ichida rehearse Le sacre du printemps in January 1987.
  • 1994: Pas de deux between India and Europe: Pina Bausch. Director: Anne Linsel .
    - Documentation of the guest tour of the Wuppertal dance theater through India .
  • 1995: Pinatz. Reverence to Pina Bausch. Germany, 4 min. Direction and choreography: Gert Weigelt .
    - This short film by the well-known German dance photographer Gert Weigelt was commissioned for a dance show on ZDF.
  • 1994: That hasn't stopped, my dancing ... Conversation, Germany, 1994, 41:50 min., Script and direction: Eva-Elisabeth Fischer and Frieder Käsmann, production: Bayerischer Rundfunk .
    - In a long interview with the dance critic Eva-Elisabeth Fischer in Venice in 1992, Pina Bausch spoke about herself as a dancer and choreographer; Rehearsal recordings and performance sequences etc. a. from 1980 - a play by Pina Bausch , Viktor , Ein Trauerspiel .
  • 1995: Bandoneón . Pina Bausch in Buenos Aires . Documentary, Argentina, 45 min., Directors: Milos Deretich, Gabriela Schmidt, Gabriela Massuh, production: Goethe-Institut Buenos Aires, music: Astor Piazzolla .
  • 1998 Lisbon Wuppertal Lisboa . Documentary, Portugal, 1998, 35 min., Director: Fernando Lopes ; very close, direct observation of Pina Bausch's work on "Masurca Fogo" in Lisbon (as a double DVD edition with an Alexandre O'Neill documentary by midas )
  • 1998: The dance theater of Pina Bausch. 25 years of Tanztheater Wuppertal. Germany, 43 min., Director: Christiane Gibiec, production: WDR, Goethe-Institut.
    - The work on the play "The Window Cleaner" is documented during rehearsals in Hong Kong . On the occasion of the 25th stage anniversary, excerpts will also be shown and a. from the pieces Fritz (1974), Le sacre du printemps (1975), Komm tanz mit mir (1977), Café Müller (1978), Walzer (1982), Danzón (1995), Nur du (1996).
  • 2001: Pina Bausch - A Portrait by Peter Lindbergh based on Der Fensterputzer . TV version of a dance theater performance, Great Britain, original version with German subtitles, 28 min., Director: Peter Lindbergh , production: Channel 4 , England's Lane Production, Beta, ZDF.
    - Observations in the play The Window Cleaner by Pina Bausch.
  • 2002: Ladies and gentlemen from 65. Documentary film, Germany, 70 min., Script and director: Lilo Mangelsdorff, production: NDR, arte.
    - Documentation of rehearsal work by amateur dancers aged 65 and over for the play “Kontakthof” in Wuppertal.
  • 2002: talk to her . (Original title: Hable con ella. ) Feature film, Spain, 115 min., Director and screenplay (= Oscar ): Pedro Almodóvar ; Guest appearance by the Wuppertal ensemble at the beginning of the film with Café Müller and at the end with Masurca Fogo .
  • 2003: Coffee with Pina. Conversation (German and English), Israel , 17 min., Director: Lee Yanor; 2005 extended to 52 minutes with dance scenes from Aguá and Rough Cut .
    - An encounter with the world-famous choreographer from Wuppertal.
  • 2006: Pina Bausch. Script and direction: Anne Linsel, production: WDR , arte, 43 min.
  • 2008: Orpheus and Eurydice . Opera performance ( Opéra Garnier ), France, 110 min., Director: Vincent Bataillon, conductor: Thomas Hengelbrock , production: arte France.
  • 2010: Dance dreams - young people dance "Kontakthof" by Pina Bausch. Dance documentation, Germany, 90 min., Book: Anne Linsel , directors: Anne Linsel, Rainer Hoffmann, production: Tag / Traum Filmproduktion.
  • 2010: Hotel Müller. Short film homage to Pina Bausch, directed by João Salaviza , world premiere at Lisbon's Teatro São Luiz , where Pina Bausch last danced Café Müller in 2008 .
  • 2011: Pina . Dance film in 3D , Germany, 107 min., Director: Wim Wenders , production: Neue Road Movies, ZDF Theaterkanal , arte.
  • 2019: The legacy of Pina Bausch. Documentary, Germany, 51:59 min., Book: Anne Linsel and Jörg Adolph , director: Anne Linsel, production: Tag / Traum, ZDF , first broadcast: July 3, 2019 on arte, summary by arte, online video available until August 1, 2019.
Individual ensemble dancers
  • 1984/8: Seduction: The Cruel Woman . Fiction film, BR Germany, 85 min., Director and screenplay: Elfi Mikesch , Monika Treut
    - Mechthild Großmann in the leading role of a free adaptation of the novel Venus im Pelz (1870) by Sacher-Masoch
  • 1985: An incredibly strong dancer. Documentary, FR Germany, 28 min., Director: Anne Linsel.
    - Portrait of the dancer Jan Minařík
  • 2003: Dominique Mercy dances Pina Bausch. Documentary, France, 57 min., Directors: Régis Obadia, Liza Wiergasova, (German language).
    - Portrait of the dancer Dominique Mercy
  • 2003: Time Steps. Dance film, Germany, Netherlands, 30 min., Director: Hans Beenhakker.
    - Choreographies in collaboration with Aida Vainieri , Ruth Amarante , Bernd Uwe Marszan and others.
  • 2010: waiting for Pina. The long farewell to the dancer Jo Ann Endicott. TV documentary, Germany, 25 min., Script and direction: Birgit Adler-Conrad, production: ZDFtheaterkanal , first broadcast: April 1, 2010 on ZDFtheaterkanal, summary. ( Memento from October 9, 2014 in the Internet Archive ).
    - Jo Ann Endicott describes her relationship and work with Pina Bausch.
  • 2019: My dance with Pina: Jo Ann Endicott's memories of Pina Bausch. Documentary film, Germany, 37:14 min., Script and director: Birgit Adler-Conrad, production: ZDF , 3sat , first broadcast: June 11, 2019 on ZDF, synopsis by ARD , online video available until December 22, 2019.

Web links

Commons : Pina Bausch  - Collection of images, videos and audio files

Portraits

Meetings & work show

Obituaries

photos

Individual evidence

  1. ↑ According to Jochen Schmidt , her maiden name was Philippine. In: Pina Bausch. "Dancing Against Fear". Ullstein, Berlin 2002, ISBN 3-548-60259-2 , p. 27, online excerpt from Google books .
    According to the WAZ , her name on the baptismal certificate is Philippina Bausch. In: Gudrun Norbisrath: The world is poorer without Pina Bausch. In: WAZ , July 1, 2009.
  2. ^ Günter Tewes: Solingen: Memories of Pina Bausch. ( Memento of December 5, 2013 in the Internet Archive ). In: Rheinische Post , March 12, 2010.
  3. ↑ Pina Bausch: What moves me. Acceptance speech for the Kyoto Prize 2007. In: Pina Bausch Foundation - pinabausch.org. Retrieved July 3, 2019 .
  4. ↑ Pina Bausch - biography ( memento from January 14, 2012 in the Internet Archive ) on the website of the film "Pina" by Wim Wenders.
  5. ↑ a b Norbert Servos: Rolf Borzik. Tanztheater Wuppertal, accessed on December 1, 2013.
  6. ↑ John O'Mahony: Dancing in the Dark. In: The Guardian , January 26, 2002.
  7. ^ Norbert Servos: Dance Theater in Essen. Folkwang '85. In: Die Zeit , April 26, 1985: "The extent to which Jooss' efforts to radically renew stage dance are bearing fruit in today's generation of choreographers is demonstrated by the guest performances by former students."
  8. ↑ Pina Bausch (1992) in: That has not stopped, my dancing ... Conversation with dance theater scenes, 1994, 41:50 min., Script and direction: Eva-Elisabeth Fischer and Frieder Käsmann, production: BR .
  9. ^ Sabina Huschka: Pina Bausch and the Tanztheater Wuppertal. The absent brought to mind. In: Sabine Huschka: Modern dance. Concepts, styles, utopias. rowohlt's encyclopedia. Rowohlt Taschenbuch Verlag, Reinbek bei Hamburg 2002, ISBN 3-499-55637-5 , p. 282, limited preview in the Google book search.
  10. ↑ Ernst Probst: Queens of Dance: From Pina Bausch to Mary Wigman. Verlag Ernst Probst, 2002, ISBN 3-935718-99-3 , p. 21.
  11. ↑ a b se: Entry “Bausch, Pina” in: Munzinger-Archiv Online / Personen - International Biographisches Archiv, retrieved from the Association of Public Libraries in Berlin on January 13, 2013.
  12. ↑ quoted from Jochen Schmidt: Dancing against fear. Pina Bausch. Düsseldorf / Munich, 1998, p. 41.
  13. ^ Sabina Huschka: Pina Bausch and the Tanztheater Wuppertal. The absent brought to mind. ISBN 3-499-55637-5 , p. 283.
  14. ^ Sabina Huschka: Pina Bausch and the Tanztheater Wuppertal. The absent brought to mind. ISBN 3-499-55637-5 , p. 286.
  15. ↑ a b se: Entry “Bausch, Pina” in: Munzinger-Archiv Online / Personen - Internationales Biographisches Archiv, retrieved from the Association of Public Libraries in Berlin on November 25, 2013.
  16. ^ Production research at Tanztheater Wuppertal, Pina Bausch in Calcutta and Kerala. ( Memento of January 23, 2007 in the Internet Archive ). In: Goethe-Institut Kolkata, 2006.
  17. ↑ Petra Roggel: Provocateur against her will: To the death of Pina Bausch. In: Goethe-Institut, July 3, 2009.
  18. ↑ In: Jochen Schmidt: Pina Bausch. "Dancing Against Fear". Ullstein, Berlin 2002, ISBN 3-548-60259-2 , p. 216.
  19. ↑ Pina Bausch. In: The Daily Telegraph , July 1, 2009.
  20. ↑ In: Jochen Schmidt: Pina Bausch. "Dancing Against Fear". Ullstein, Berlin 2002, ISBN 3-548-60259-2 , pp. 216f. Quote from Pina Bausch: "If it weren't for our travels and everything that happened - everything that happened to me - then I wouldn't be in Wuppertal anymore."
  21. ↑ "... como el musguito en la piedra, ay si, si, si ..." ( Memento of March 7, 2010 in the Internet Archive ). In: Pina Bausch Tanztheater Wuppertal , performances in the 2019 season , with video preview.
  22. ↑ Photos: The grave of Pina Bausch. In: knerger.de .
  23. ^ Christian Peiseler: Farewell to Pina Bausch. In: Rheinische Post , September 5, 2009.
  24. ↑ Funeral service for Pina Bausch: Tanzwelt says goodbye. In: WDR culture , September 4th, 2009.
    Martina Schürmann: Welt says     goodbye to Pina Bausch. In: The West , September 5, 2009.
  25. ↑ Lothar Schmidt-Mühlisch: "I am the beginning." In: Die Welt , May 5, 2000, interview with Pina Bausch.
  26. ↑ Jochen Schmidt : Pina Bausch is dead. The only German world star in the performing arts. In: tanznetz.de , July 1, 2009.
  27. ↑ ddp : Pina Bausch is awarded posthumously. In: WAZ , July 1, 2009.
  28. ↑ Video: Mourning for Pina Bausch. In: 3sat , July 1, 2009, 5:06 min.
    Lin Hwai-min was also invited to the 2008 dance festival in Wuppertal: Cloud Gate Dance Theater of Taiwan. ( Memento from June 13, 2008 in the Internet Archive ).
  29. ↑ Quote Bausch in: Schulze-Reuber: Das Tanztheater Pina Bausch. 2005, ISBN 3-8301-1147-9 .
  30. ↑ "Pina Bausch broke with traditions and invented dance theater." In: "What remains is dance theater in its pure form." In: Die Zeit , July 2, 2009, interview with John Neumeier .
    Vladimir Malakhov : “Pina Bausch has shaped our generation and our way of seeing things like no other: She invented dance theater in Germany, in Wuppertal!” Quoted in Vladimir Malakhov: “Pina Bausch was incredibly beautiful.” In: Die Welt , 1. July 2009.
    Wim Wenders “I still remember this moment of emotion, of sudden crying. At that moment it actually became clear to him - the performance of the dancers on the stage, "that wasn't theater, not ballet, not opera", that was something completely different: "Bausch is the inventor of a new kind," says Wenders. “In: Goethe Prize. Frankfurt pays tribute to Pina Bausch. In: Frankfurter Rundschau , August 28, 2008.
  31. ↑ For example Jochen Schmidt : “Your topics, Pina Bausch said some time before, basically always remained the same; only the colors of the states of mind as well as the pieces changed. Love and fear, loneliness and longing, tenderness and physical violence are unfolded in new patterns. ”In: Jochen Schmidt: Pina Bausch. "Dancing Against Fear". Ullstein, Berlin 2002, ISBN 3-548-60259-2 , p. 115.
    Christian Spuck : "Your work is inspired by a humanity and sincerity that has touched me infinitely deeply." In: The renewer of dance theater is dead. ( Memento from August 15, 2016 in the Internet Archive ). In: dpa / Hamburger Abendblatt , July 1, 2009.
  32. ↑ See quotes from obituaries: reactions. Pina Bausch: Picasso of Dance. In: Der Tagesspiegel , July 2, 2009.
  33. ↑ Alice Schwarzer : Pina Bausch. Dance theater maker. In: the same: why she? Female rebels. Fischer, Frankfurt am Main 1991, ISBN 3-596-10838-1 , p. 153.
  34. ^ Quote from Pina Bausch in: J. Schmidt 1992, Tanztheater in Deutschland , Propylänen, 1992, ISBN 3-549-05206-5 .
  35. ^ A b Martina Thöne: Wuppertal artist couples (10): Love in dance theater. Jorge Puerta Armenta and Ruth Amarante dance with passion. The couple have three children and a common job. In: Westdeutsche Zeitung , September 14, 2012.
  36. ↑ Miriam Olbrisch: Moving memories of little Pina Bausch. In: Westdeutsche Zeitung , July 16, 2009.
  37. ↑ Schulze-Reuber, 2005.
  38. ↑ See for example Jochen Schmidt: Tanztheater in Deutschland. 1992, ISBN 3-549-05206-5 .
  39. ↑ In: Pina Bausch. Documentary film, Germany, 2006, 43 min., Script and director: Anne Linsel , production: Tag / Traum, WDR , arte , summary by arte, ( Memento from December 3, 2013 in the Internet Archive ).
  40. ↑ Pina Bausch Foundation established in Wuppertal. In: ddp / Westdeutsche Allgemeine Zeitung , August 11, 2009.
  41. ^ Anne Linsel : The legacy of Pina Bausch. In: Westdeutsche Allgemeine Zeitung , August 31, 2009.
    Eva-Elisabeth Fischer: Preserving the most fleeting. In: Süddeutsche Zeitung , Bavaria, p. 11, July 17, 2009, beginning of the article.
  42. ↑ a b Christiane Hoffmans: The legacy of Pina Bausch. In: Welt am Sonntag , June 27, 2010.
  43. ↑ a b Martina Thöne: The whole world should share in Pina Bausch's legacy. In: Westdeutsche Zeitung , June 22, 2011, interview with Salomon Bausch.
  44. ↑ Deike Diening: Pina Bausch. Dance or not at all. In: Tagesspiegel , February 26, 2012, report.
  45. ↑ Martina Thöne: Wuppertal receives Bausch's archive. In: Westdeutsche Zeitung , June 22, 2011.
  46. ^ Pina Bausch Fellowship for Dance and Choreography
  47. ^ Helga Meister: Funding in the name of Bausch. In: Westdeutsche Zeitung , January 8, 2015.
    PE Holdsworth: Tanztheater Wuppertal: “Preserving Pina Bausch's Legacy”. In: blouinartinfo.com , June 11, 2015 (English).
  48. ^ Dorothee Krings: Pina Bausch film by Wim Wenders in 3D. ( Memento from February 12, 2013 in the web archive archive.today ) In: Rheinische Post , June 30, 2010.
  49. ↑ Pina Bausch died. ( Memento of July 4, 2009 in the Internet Archive ). In: tagesschau.de , June 30, 2009.
    Wim Wenders: Pina Bausch Is Dead. In: The Guardian , July 1, 2009, farewell poem by Wim Wenders (English).
  50. ↑ Sabine Oelmann: Wim Wenders' masterpiece: Pina! In: n-tv , February 16, 2011.
  51. ↑ Wenders' portrait of Bausch comes in 2011. ( Memento from November 4, 2009 in the Internet Archive ). In: Kölner Stadt-Anzeiger , November 3, 2009.
  52. ↑ German Film Prize awarded. In: Rheinische Post , April 8, 2011.
  53. ↑ Frank Bretschneider: Film about Pina Bausch in 3D - Wim Wenders turns. ( Memento from January 21, 2010 in the Internet Archive ). In: ddp / ZDFtheaterkanal , November 3, 2009.
  54. ↑ from: Forest gets Pina-Bausch-Platz. ( Memento of December 3, 2013 in the Internet Archive ). In: Solinger Tageblatt , January 25, 2010.
  55. ↑ Günter Tewes: Solingen: “That is a horse trade.” ( Memento from December 4, 2013 in the Internet Archive ). In: Rheinische Post , March 6, 2010.
  56. ^ Kra: Yes to Pina-Bausch-Strasse. ( Memento from October 9, 2014 in the Internet Archive ) In: Solinger Tageblatt , September 5, 2012.
  57. ^ Günter Tewes: Solingen: backtrack at Pina-Bausch-Platz. ( Memento of December 4, 2013 in the Internet Archive ). In: Rheinische Post , March 5, 2010.
  58. ↑ Solingen: Pina Bausch friends founded an association. ( Memento of December 5, 2013 in the Internet Archive ). In: Rheinische Post , May 12, 2010.
  59. ↑ Internet presence of the «Pina-Bausch-Gesamtschule».
  60. ↑ Federal government funds the Pina Bausch Center with 29.2 million euros. ( Memento from April 16, 2016 in the Internet Archive ) In: City of Wuppertal , November 13, 2015.
  61. ^ Andreas Boller: Wuppertal: New building complements the dance center. In: Westdeutsche Zeitung , April 6, 2016.
  62. ^ Exhibition: Pina Bausch and the Tanztheater, March 4 to July 24, 2016. In: Bundeskunsthalle , accessed on July 3, 2019.
  63. ↑ Video: Learn - The Nelken-Line by Pina Bausch. In: Pina Bausch Foundation , 2017; see. Dance! The Carnation Line by Pina Bausch. ( Memento from April 1, 2016 in the Internet Archive ) In: arte , March 1, 2016, (only text, German).
  64. ↑ Fest mit Pina - International Dance Festival 2008 - Program ( Memento from June 8, 2008 in the Internet Archive ), as of September 25, 2008.
  65. ↑ Ulrich Fischer: Contrasts shape Pina Bausch's new dance piece. In: dpa / Frankfurter Rundschau , June 13, 2009, photos of the scenes.
    Dance theater Pina Bausch starts a guest tour to Chile. In: ddp / neue musikzeitung , December 16, 2009.
  66. ↑ Honor: Pablo Neruda Medal for Pina Bausch. In: Tagesspiegel , January 15, 2007.
  67. ↑ 2007 Kyoto Prize for Pina Bausch. In: dpa / Kölner Stadt-Anzeiger , June 8, 2007.
  68. ↑ Pina Bausch honored with a Golden Lion. In: dpa / Rhein-Zeitung , June 21, 2007.
  69. ↑ Ceremony in the theater: Pina Bausch is an honorary citizen of Wuppertal. In: Westdeutsche Zeitung , April 27, 2008, photo gallery.
  70. ↑ Rudolf Hermes: Award. A choreographer of extremes. In: WAZ , November 30, 2008.
  71. ↑ Press release of the Japanese Consulate General , September 9, 2008, PDF.
  72. ↑ can / ddp : Theater Prize 'Faust' for Pina Bausch. In: Spiegel online , July 1, 2009.
    Stefan Benz: On the way to Pina Bausch. ( Memento of March 8, 2011 in the Internet Archive ). In: Darmstädter Echo , November 30, 2009.
  73. ↑ Available from July 1st, 2015. Special stamp for Pina Bausch. In: Wuppertaler Rundschau , June 22, 2015.
    epd : Pina Bausch. Special postage stamp honors world-famous choreographer. In: Rheinische Post , June 26, 2015.
  74. ^ Pina Bausch: Postage stamp and special cancellation. In: Wuppertaler Rundschau , June 29, 2015.
  75. ^ Arnd Wesemann: Book review. Bausch - a dance analysis. ( Memento from August 10, 2010 in the Internet Archive ). In: ballettanz , February 2008, p. 31.
  76. ↑ Reviews on Ursula Kaufmann: Pina Bausch and the Tanztheater Wuppertal , 2012:
    Wiebke Hüster: The new Pinabibel is here. In: FAZ , February 28, 2013.
    Eva Hepper: A photographic dance experience. In: Deutschlandradio , February 25, 2013.
  77. ↑ “Pina”: More than the photo book for the dance film. In: Westdeutsche Zeitung , July 24, 2012, with photo examples.
  78. ↑ Summary: Pina Bausch - A Portrait by Peter Lindbergh based on "Der Fensterputzer". ( Memento from December 2, 2013 in the Internet Archive ). In: arte , June 1, 2005.
  79. ↑ Summary: Pina Bausch (2006) by Anne Linsel, ( Memento from December 3, 2013 in the Internet Archive ). In: arte .
  80. ↑ Summary: Orpheus and Eurydice. A production by Pina Bausch. ( Memento of October 10, 2014 in the Internet Archive ). In: arte , 2008.
  81. ↑ Table of contents of Tanzträume - Teenager Tanz Kontakthof by Pina Bausch (PDF; 229 kB) of the Berlinale 2010 and an interview with Anne Linsel. ( Memento from February 17, 2010 in the Internet Archive ). In: WDR , February 14, 2010.
  82. ^ Film page ( memento from January 3, 2012 in the Internet Archive ) of Wenders' Pina .
personal data
SURNAME Bausch, Pina
ALTERNATIVE NAMES Philippine
BRIEF DESCRIPTION German dancer, choreographer, dance teacher and ballet director
DATE OF BIRTH July 27, 1940
PLACE OF BIRTH Solingen
DATE OF DEATH June 30, 2009
Place of death Wuppertal