Dancing to talk about yourself. The character is me. Case study: Pina Bausch
Dancing to talk about yourself. The character is me. Case study: Pina Bausch

Author(s): Alice Veliche
Subject(s): Theatre, Dance, Performing Arts, Fine Arts / Performing Arts
Published by: Editura ARTES
Keywords: Pina Bausch; theatre; dance;
Summary/Abstract: From the corpus of our doctoral research, an essential place in the development and analysis of the theatrical elements of contemporary dance is the subject of Pina Bausch. The choreographic world has been and will remain strongly guided by the well-implemented corporeal principles of Pina Bausch, also called the choreographer of souls. The corporeal rigors imposed by the artistic system and classical working techniques are not the only methods by which we can access a complete final product, to the surprise of many practitioners or theorists. The proof that emotion and corporality can be accessed and directed through multiple variants lies in the work exercises created by Pina Bausch. I will not use the term method or technique because “there is no method, no technique to follow: What remains is a process, and to build from this process becomes the highest quality of Pina Bausch, moving in your own direction and taking advantage of the available resources.” The esthetics of the movement occupied a leading place in the ranking of choreographic priorities until the emergence of the precursors of modern dance, which exposed new meanings of corporeality. Pina Bausch supported the move by stating that “I am not so interested in how they move as in what moves them.” The purpose of the study is to analyze the work processes and to classify them in distinct stages, meant to help in forming a direction that will bring us as close as possible to the nature of the theatre.

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