Philippine “Pina” Bausch[a] (27 July 1940 – 30 June 2009) was a German dancer and choreographer who was a significant contributor to a neo-expressionist dance tradition now known as Tanztheater. Bausch’s approach was noted for a stylized blend of dance movement, prominent sound design, and involved stage sets, as well as for engaging the dancers under her to help in the development of a piece, and her work had an influence on modern dance from the 1970s forward.
Her work, regarded as a continuation of the expressionist movements, incorporated many expressly dramatic elements and often explored themes connected to trauma, particularly trauma arising out of relationships.
After graduation in 1959, Bausch left Germany with a scholarship from the German Academic Exchange Service to continue her studies at the Juilliard School in New York City in 1960, where her teachers included Antony Tudor, José Limón, Alfredo Corvino, and Paul Taylor. Bausch was soon performing with Tudor at the Metropolitan Opera Ballet Company, and with Paul Taylor at New American Ballet.
When, in 1960, Taylor was invited to premiere a new work named Tablet in Spoleto, Italy, he took Bausch with him. In New York Bausch also performed with the Paul Sanasardo and Donya Feuer Dance Company and collaborated on two pieces with them in 1961.
In 1962, Bausch joined Jooss’ new Folkwang-Ballett (Folkwang Ballet) as a soloist and assisted Jooss on many of the pieces. In 1968, she choreographed her first piece, Fragmente (Fragments), to music by Béla Bartók. In 1969, she succeeded Jooss as artistic director of the company.Embed from Getty Images
Pina: A film for Pina Bausch by Wim Wenders
Tanztheater Wuppertal Pina Bausch
In 1973, Bausch started as artistic director of the Wuppertal Opera ballet, as the Tanztheater Wuppertal [de], run as an independent company. Josephine Ann Endicott was an Australian solo dancer before joining the Tanztheater. The company has a large repertoire of original pieces, and regularly tours throughout the world from its home base of the Opernhaus Wuppertal. It was renamed later: Tanztheater Wuppertal Pina Bausch.
Her best-known dance-theatre works include the melancholic Café Müller (1985), in which dancers stumble around the stage crashing into tables and chairs. Bausch had most of the dancers perform this piece with their eyes closed. The thrilling Frühlingsopfer (The Rite of Spring) (1975) required the stage to be completely covered with soil.
“Wikiwand – Pina Bausch.” Wikiwand, http://www.wikiwand.com/en/Pina_Bausch.