I am looking forward to watching Pina very soon.This is a real feast for Pina Bausch lovers and who likes to understand her a little more.İt is directed by Wim Wenders and was shot in Wuppertal.Wuppertal is a city in North Rhine-Westphalia, Germany.
From WENDERS mouth :
No, there was no hurricane that swept across the stage,
there were just … people performing
who moved differently then I knew
and who moved me as I had never been moved before.
After only a few moments I had a lump in my throat,
and after a few minutes of unbelieving amazement
I simply let go of my feelings
and cried unrestrainedly.
This had never happened to me before…
maybe in life, sometimes in the cinema,
but not when watching a rehearsed production,
let alone choreography.
This was not theatre, nor pantomime,
nor ballet and not at all opera.
Pina is, as you know,
the creator of a new art.
Until now movement as such has never touched me.
I always regarded it as a given.
One just moves. Everything moves.
Only through Pina’s Tanztheater have I learned to value
movements, gestures, attitudes, behaviour, body language,
and through her work learned to respect them.
And anew every time when, over the years I saw Pina’s pieces, many times and again,
did I relearn, often like being struck by thunder,
that the simplest and most obvious is the most moving at all:
What treasure lies within our bodies, to be able to express itself without words,
and how many stories can be told without saying a single sentence.
PINA is a feature-length dance film in 3D with the ensemble of the Tanztheater Wuppertal Pina Bausch, featuring the unique and inspiring art of the great German choreographer, who died in the summer of 2009.
PINA is a film for Pina Bausch by Wim Wenders.
He takes the audience on a sensual, visually stunning journey of discovery into a new dimension: straight onto the stage with the legendary ensemble and follows the dancers out of the theatre into the city and the surrounding areas of Wuppertal – the place, which for 35 years was the home
In early 2009, Wim Wenders and his production company Neue Road Movies, together with Pina Bausch and the Ensemble of the Tanztheater Wuppertal, began the phase of actual pre-production. After half a year of intensive work, and only two days before the planned 3D rehearsal shoot, the unimaginable happened: Pina Bausch died on June 30th 2009, suddenly and unexpectedly. Around the world admirers of her art and friends of the Tanztheater Wuppertal mourned the death of the great choreographer. This seemed to be the end of the joint film project. Wim Wenders immediately stopped preparations, convinced that the movie, without Pina Bausch, should no longer be pursued.
After a period of mourning and reflection and encouraged by many international appeals, the consent of the family, and the request of staff and dancers of the ensemble who were just about to start rehearsing the pieces selected for the film, Wim Wenders decided to make the film without Pina Bausch at his side, after all. Her inquiring, affectionate look at the gestures and movements of her ensemble and every detail of her choreography was still alive and present and inscribed into the bodies of her dancers. Now, in spite of the great loss, was the right moment, and maybe the last one to record all this on film.
The new film concept includes, in addition to excerpts from the four productions of “Café Müller”, “Le Sacre du printemps”, “Vollmond” and “Kontakthof”, carefully selected archive footage of Pina Bausch at work, innovatively inserted in the 3D world of the film as a third element, with many imaginative, short solo performances by the dancers of the ensemble. To achieve this, Wim Wenders used Pina Bausch’s own method of “questioning” with which the choreographer developed her new productions. She posed questions and her dancers answered not in words, but with improvised dance and body language.
They danced intimate feelings and personal experiences from which Pina Bausch, during intensive working sessions with her ensemble, developed her pieces. Wim Wenders turned to this method when he invited the dancers to express their memories of Pina Bausch for the film in individual solo performances. Wenders filmed these different solos for PINA in numerous locations in and around Wuppertal: in the countryside of the Bergisches Land, in industrial facilities, at road crossings and in the Wuppertal Suspension Line. They give the dancers of the ensemble individual faces, and form an exciting, polyphonic addition to the composed pieces of “Café Müller”, “Le Sacre du printemps”, “Vollmond” and “Kontakthof”.
Tanztheater Wuppertal ‘s long-time costume designer, Marion Cito, summed up the work with Wim Wenders and his film crew during the filming: “Like many of my colleagues, I sometimes cannot believe that Pina Bausch is no longer here. The great sadness is still far from over. To get over it needs more time. One senses, however, that she lives on in her works. Everything I do, even the filming, I do for Pina. That helps. I think it’s really great that Wenders is shooting his movie now”…