Feted Works of Pina Bausch to Be Staged
By Han Sang-hee
Staff Reporter
Celebrated dancer and choreographer Pina Bausch may have left us last year after losing her battle with cancer, but her legacy and passion will continue this month through two of her masterpieces here in Seoul.
Local fans will get to watch Bausch's ``Cafe Muller'' and ``Le Sacre du Printemps,'' two intense works that not only made the German choreographer famous, but also reestablished the definition of modern dance. The two pieces will be performed by the Pina Bausch Tanztheater Wuppertal, one of the leading dance companies in the world.
The 50-minute ``Cafe Muller'' is one of the few works where Bausch herself appeared on stage.
The stage, a deserted cafe, is dark and dreary, with tables and old wooden chairs scattered around. With the gloomy aria from Henry Purcell's ``The Fairy Queen,'' three couples wander around as if they are sleepwalking. They repeat certain movements over and over again ― bumping into walls, throwing their bodies into the chairs and tables― as if they are struggling to escape from a trance.
The sharp steps, sighs and movements represent the German society full of solitude, depression and anguish.
``Cafe Muller'' was inspired by Bausch's experience as a little girl: She would spend time at her parents' cafe, watching adults talking while putting meaning to their manners and words in her own way. The work represents her interpretation of this world.
It was also featured in the film ``Talk to Her'' (2003) by Spanish film director Pedro Almodovar, an avid fan of Bausch and her works. The movie's theme included the difficulty of communication, as well as loneliness, intimacy and the persistence of love.
While ``Cafe Muller'' tackles emptiness and lack of communication between people, ``Le Sacre du Printemps'' features human's cruel ways of survival.
Also known as ``The Rite of Spring,'' ``Le Sacre du Printemps'' premiered in 1913 (originally choreographed by Vaslav Nijinsky) and shocked the world with its explicit and somewhat provocative content and movements. It featured an ancient Russian pagan tribe that believed in human sacrifices and a ritual where a young girl dances herself to death. Instead of the elegant and long lines of traditional ballet, the arms and legs were sharply bent in the original choreography, escaping the demure conventions of classical ballet.
Despite the criticism, it was a breath of fresh air among innovative choreographers, and it pushed the boundaries of the use of energy, tension and destruction in ballet. Numerous choreographers made their own versions; Bausch being one of them.
While the original depicted a pure festival of Eros, the god of sexual love and beauty, Bausch focused on the theme of sacrifice: the weakness of mankind and the barbaric energy and fear of a young girl who waits for her death.
Bausch's version features the young girl dressed in red, waiting for her fate on a stage covered with red dirt. Fellow dancers move toward and away from the girl in aggressive movements. Finally, the 30 dancers move vigorously to the strong beat as they prepare for the offering. The climax comes when the young girl dances in fear, accepting her fate, yet following her instincts in wanting to live.
``Le Sacre du Printemps'' first came here in 1979 during the troupe's Asia tour, and dance fans can feel the energy and passion once again this month.
The two works of the celebrated choreographer will be staged from March 18 to 21 at LG Arts Center. Tickets cost from 40,000 to 120,000 won. For more information, visit www.lgart.com or call (02) 2005-0114.