Pina Bausch

Two of Pina Bausch’s most famous works are rehearsed in Germany and Senegal, championing the choreographer’s legacy through a younger generation of dancers.

Pina Bausch’s iconic choreography to The Rite of Spring danced on the beach in Toubab Dialaw, Senegal. Filmed as the world descended into lockdown, this recording captures the last rehearsal of a specially assembled company of 38 dancers from 14 African countries, and documents a unique moment in their preparations for an international tour that would go on to be cancelled by COVID-19.

Complete recording of Pina Bausch's piece Vollmond (Full Moon) by Wim Wenders.

Complete recording of Pina Bausch's piece Vollmond (Full Moon) by Wim Wenders.

In many ways, "Kontakthof" could be seen as the sum of Pina Bausch's choreographies: the performance takes place at a single location. The high room is completely empty and open to the public - like a showcase. The other three sides are furnished with long rows of chairs, like in a dance school. Men and women sit next to each other. Little by little they rise and all sorts of encounters ensue, some cautious and tentative, others wild and impetuous. Sometimes there is a single couple on the dance floor, sometimes the full cast of 30 dancers. Bausch created this piece with her ensemble in 1978. "Kontakthof" is one of four choreographies by Pina Bausch that the director Wim Wenders recorded in full for his film "Pina - Tanzt, tanzt, oder wir los sind" ("Pina - Dance, Dance, Otherwise We Are Lost").

In many ways, "Kontakthof" could be seen as the sum of Pina Bausch's choreographies: the performance takes place at a single location. The high room is completely empty and open to the public - like a showcase. The other three sides are furnished with long rows of chairs, like in a dance school. Men and women sit next to each other. Little by little they rise and all sorts of encounters ensue, some cautious and tentative, others wild and impetuous. Sometimes there is a single couple on the dance floor, sometimes the full cast of 30 dancers. Bausch created this piece with her ensemble in 1978. "Kontakthof" is one of four choreographies by Pina Bausch that the director Wim Wenders recorded in full for his film "Pina - Tanzt, tanzt, oder wir los sind" ("Pina - Dance, Dance, Otherwise We Are Lost").

Desde o início da dança moderna em 1970, poucos coreógrafos tiveram tanta influência no meio como Pina Bausch. O documentário aborda a vida e a carreira da artista e mostra incríveis atuações de sua companhia.

Poucos meses antes de sua morte, a coreógrafa Pina Bausch decide fazer uma nova montagem de seu famoso espetáculo "Kontkthof"'. Mas desta vez não escala os bailarinos da sua famosa companhia, e sim adolescentes de catorze a dezoito anos que nunca haviam subido em um palco antes.

The Ballet de l'Opera National de Paris mounted this production of the late Pina Bausch's dance-opera Orpheus und Eurydike, which Bausch had adapted from composer Christoph Willibald-Gluck and Ranieri de' Calzabigi's 1762 opera Orfeo ed Euridice. As the title suggests, it takes its basic narrative from the myth of Orpheus, and his courageous but ill-fated attempt to rescue his lover Eurydice (also known as Eurydike) from the jaws of the underworld. This particular production finds Yann Bridard dancing as Orpheus and Marie-Agnès Gillot dancing as Eurydike , with mezzo-soprano Maria-Riccarda Wesseling accompanying Bridard and soprano Julia Kleiter accompanying Wesseling. Pina Bausch did the choreography and stage direction, while Rolf Borzik designed the sets, costumes and lighting. The Balthasar-Neumann Ensemble & Choir, under the direction of Thomas Hengelbrock, lend musical accompaniment.

Documentary about German choreographer Pina Bausch.

Benigno está apaixonado por Alicia, uma dançarina que observa do anonimato de seu apartamento. Depois de um acidente, ela é levada ao hospital onde Benigno trabalha como cuidador. Quando a toureira Lydia é levada para a mesma ala hospitalar, seu companheiro Marco cria um laço verdadeiro com Benigno.

This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.

This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.

This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.

As debut of the film series, video footage of the piece Palermo Palermo, which was taken shortly after the piece’s premiere in 1989, has been digitally restored. Thanks to a grant from the Arts Foundation of North Rhine-Westphalia and the Cultural Foundation of the German Federal States, the material produced by Metrovision was acquired from the publishing house L’Arche Éditeur and has now been cut into a film version by the Pina Bausch Foundation.

Chantal Akerman followed famous Choreographer Pina Bausch and her company of dancers, The Tanzteater Wuppertal, for five weeks while they were on tour in Germany, Italy and France. Her objective was to capture Pina Bausch's unparalleled art not only on stage by behind the scenes.

While Pina Bausch was preparing her film The Plaint of the Empress in 1987, the French, British and German co-producers were waiting for a script. No script: no film. That is how the film industry saw things.The discussions dragged on but eventually the TV stations accepted the idea of shooting the film without a script. Someone had the idea of making a "test film" showing what the results of working in Pina Bausch's way could be. That's how this film was born - a documentary on the rehearsals for AHNEN, a piece she was developing at the time. For twenty five years the film stayed in the archives; today it emerges as an extraordinary document. This is how Pina Bausch and her company worked. This is how this work was created, that touched so many people continous to do so today.

Walzer is an excerpt taken from a work by the same name. Pina Bausch premiered it in the summer of 1982 at the Carré Theatre in Amsterdam and filmed it in the autumn of the same year in the theatre of Wuppertal. When in 1986 the German radio station Norddeutscher Rundfunk in Hamburg asked for a recording, Pina Bausch selected and edited the material into the film Walzer.

Pina Bausch created and performed Café Müller for her dance company Tanztheater Wuppertal. The dance was inspired by and based on her childhood memories of watching her father work at his café in Germany during and immediately following World War II. In this silent style featurette, Bausch shows a restaurant after closing, in which the ghosts of the departed customers stumble blindly into walls and onto chairs but fail to find one another.

Pina Bausch created and performed Café Müller for her dance company Tanztheater Wuppertal. The dance was inspired by and based on her childhood memories of watching her father work at his café in Germany during and immediately following World War II. In this silent style featurette, Bausch shows a restaurant after closing, in which the ghosts of the departed customers stumble blindly into walls and onto chairs but fail to find one another.

Em 1914, um navio de cruzeiro sai navegando de Nápoles com o objetivo de espalhar as cinzas da amada cantora de ópera Edmea Tetua perto da ilha de Erimo, local de nascimento da cantora. Durante a viagem, a variedade eclética de passageiros descobre um grupo de refugiados sérvios a bordo do navio. A paz e a camaradagem reina até que o navio é abordado por uma nau capitânia austríaca. Os sérvios são obrigados a abandoná-lo, mas, naturalmente, eles resistem, iniciando uma escaramuça que acaba em destruição. (e Livre - Estimado Livre) Várias versões: 132 min - Itália 128 min - Argentina 118 min - Suécia 128 min - EUA

Wuppertal is a drizzly, industrial city on the Rhine and one immediately wonders why Pina Bausch and her avant-garde dance troupe have settled there. A socially engaged documentarian, Wildenhahn is also perplexed by this issue and spends considerable time trying to place Bausch in a context outside of the aesthetic. Still, the dance company's daily life and the excruciating rehearsal and performance schedule is solidly captured. The film begins cleverly: a dance critic offers sagacious comments on ballet dancers finishing their careers at mid-thirty just when, according to Bausch, the "aspects of misery, suffering and fear of death should become an integral part of a dancer's spiritual and psychological make-up." Wildenhahn's camera glides over the dancers' bodies as Bausch leads them through their paces, a consummate teacher. Leaving behind rehearsals of "Bandoneón" and "Walzer," Wildenhahn then ventures out into the streets of Wuppertal searching for the dance of the common people.

An exhilarating, essayistic documentary about the 1980 festival of experimental theatre in the French city of Nancy. Werner Schroeter's favourite of his own films.

...Dancing to the border of exhaustion. Dressed in little, the black earth sticks to their skin. Yes, to the point where it hurts. A document of early Pina Bausch, an authentic recording of one of the most outstanding choreographies of the 20th century.

...Dancing to the border of exhaustion. Dressed in little, the black earth sticks to their skin. Yes, to the point where it hurts. A document of early Pina Bausch, an authentic recording of one of the most outstanding choreographies of the 20th century.