pina bausch vie privée

The costumes too, can be as elegant as they are absurd, from the refinement of evening dress to the childish delight in dressing up. The atmosphere of her early childhood seems to find an echo later in her pieces; music is heard, people come and go, and talk of their yearning for happiness. À suivre. She was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 2009. She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. 20 h 06 La vie et l'oeuvre de Pina Bausch racontées par Andrée Martin Durée : 23:00 En 1995, à Avignon, la chorégraphe allemande Pina Bausch danse dans son ballet Café Müller. Her best-known dance-theatre works include the melancholic Café Müller (1985), in which dancers stumble around the stage crashing into tables and chairs. She took every opportunity to see performances and absorbed all the various tendencies. Pina Bausch was born 1940 in Solingen and died 2009 in Wuppertal. Le travail de Pina Bausch à Wuppertal, Venise et Avignon. The spaces created are poetic, with the outside often brought in, the stage expanded into a landscape. Pina Bausch Biography. [11] In 1969, she succeeded Jooss as artistic director of the company.[8]. 3:01. Vidéos à découvrir. Par; Al.C. video 25 avril 1998 2603 vues 02min 35s. Pina Bausch > Tweeter Partager par email Exporter Ajouter aux favoris Ajouter à ma playlist Pina Bausch 20H F2. Out of the finds brought back from the journey which begins with each new piece, out of the many small scenes and the many dancers – ever more over the years – a global image of enormous complexity is pieced together, full of surprising turns. By Norbert Servos En témoigne le solo de Dominique Mercy, qui, à 60 ans, arrive à évoquer la solitude et la mélancolie d’une vie privée de désir. For their part, they are required to take responsibility themselves. Elle lui a été inspirée par la ville d'Istanbul. What you do with things. Bausch was soon performing with Tudor at the Metropolitan Opera Ballet Company, and with Paul Taylor at New American Ballet. In the early days his stage sets and costumes had largely shaped the appearance of dance theatre. The dancer is free to choose any expressive mode, whether it is verbal or physical when answering these questions. She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. She thus cast the Bochum guest performance with just four dancers, five actors and a singer. This with that, that with something else. Commande de l'Exposition de Lisbonne, Masurca Fogo raconte sa vision de la capitale portugaise. There is no set. In New York Bausch also performed with the Paul Sanasardo and Donya Feuer Dance Company and collaborated on two pieces with them in 1961. Elle s'écarte du livret de la pièce chorégraphiée en 1913 par Vaslav Nijinski pour dresser face à … Following his death his work was continued by Peter Pabst (sets) and Marion Cito (costume). Pina est un film pour Pina Bausch de Wim Wenders. En 30 ans, les critiques adressés à sa démarche se sont transformées en ovations. The company has a large repertoire of original pieces, and regularly tours throughout the world from its home base of the Opernhaus Wuppertal. In June 2007 she was presented with the Venice Biennale Golden Lion for her life's work and in November that year she was awarded the highly respected Kyoto Prize. Pina Bausch danced in works by Jooss, both old and new, as well as assisting him with choreography. [23], Promotional trailers for the third season of American Horror Story: Coven included a clip for the episode "Detention" and were likely influenced by Bausch's work Blaubart. She was awarded the Deutscher Tanzpreis in 1995. In 1997 the German government honoured her with the Order of Merit of the Federal Republic of Germany, the French with the title Commandeur de l'Ordre des Arts et de Lettre in 1991 and Chevalier de la Légion d'Honneur in 2003. Gabriele Klein: Pina Bausch’s Dance Theater. ", One of the themes in her work was relationships. Christoph W. Gluck / Opéra dansé de Pina Bausch Danseur : Stéphane Bullion Mezzo-soprano : Agata Schmidt. Dans son tour du monde des grandes villes entrepris à la fin des années 80, Pina Bausch s'est posée en 1998 à Lisbonne (Portugal). "Ahnen" can mean "ancestors," but also (as a verb) "to foresee", "bode", "suspect. Her large multi-media productions often involve elaborate sets and eclectic music. Some of the German titles are ambiguous. Aun collègue qui l’interrogeait sur le côté torturé de certains de ses spectacles, Pina Bausch avait rétorqué, sourire aux lèvres : « Mais non ! The second part, collaged freely together, with both men and women wearing female clothes as Bausch plays with entrenched gender-role conventions, is both entertaining and funny. In 1973 the director of the Wuppertal theatres Arno Wüstenhöfer appointed her head of the Wuppertal Ballet, which she soon renamed the Tanztheater Wuppertal. [18], Works by Bausch were staged in June and July 2012 as a highlight of the Cultural Olympiad preceding the Olympic Games 2012 in London. C'est à Wuppertal, bien sûr, que Pina Bausch la grande prêtresse de la danse contemporaine a réservé le privilège de voir sa nouvelle création 2001. The worldwide development of dance theatre resulted in many international co-productions for the Tanztheater Wuppertal: Viktor, Palermo Palermo and O Dido in Italy, Tanzabend II (Dance Evening II) in Madrid, Ein Trauerspiel (A Tragedy) in Vienna, Nur Du (Only You) in Los Angeles, Der Fensterputzer (The Window Washer) in Hong Kong, Masurca Fogo in Lisbon, Wiesenland (Meadow Land) in Budapest, Água in Brazil, Nefés (Breath) in Istanbul, Ten Chi in Tokyo, Rough Cut in Seoul, Bamboo Blues in India and most recently the new 2009 production in Chile, which Pina Bausch was no longer able to give a title to. Wenders' documentary, Pina, was released in late 2011 in the United States, and is dedicated to her memory. Reportage sur le spectacle de Pina BAUSCH "Palermo Palermo" présenté au Théâtre de la Ville à Paris. On 30 June 2009 Pina Bausch's life journey reached its end. Kontakthof – with men and women of age 65 and up, For the children of yesterday, today, and tomorrow, Kontakthof, with teenagers 14 years and up. In Vollmond, half of the stage is taken up by a giant, rocky hill, and the score includes everything from Portuguese music to k.d. Translated by Steph Morris. The Man I love - Pina BAUSCH Nelken (1983) [In Un jour Pina a demandé (1982, 57 mn) - Réalisation : Chantal Akerman. ", In 1962, Bausch joined Jooss' new Folkwang-Ballett (Folkwang Ballet) as a soloist and assisted Jooss on many of the pieces. Si la mythique chorégraphe allemande est peu présente à l'image, c'est à travers les interviews de ses danseurs et les extraits de ses créations que son univers fascinant se dévoile. She is survived by her son Salomon. The city was seen as a dance Mecca, where classical ballet was being reinvented thanks to George Balanchine and modern dance further developed. The spaces' variety ranges from nineteenth century interiors to bare wooden boards of Japanese minimalism. Invited by the director of the Bochum theatre Peter Zadek to create her own version of Shakespeare's Macbeth, she found herself in a difficult situation. One has to do it because one believes that it is the right thing to do. In his teaching, however, Jooss sought to reconcile the free spirit of the dance revolutionaries with the fundamental rules of ballet. The work, once controversial, eventually developed into a world theatre, which can incorporate all cultural colourations and treats every person with the same respect. In 1968, she choreographed her first piece, Fragmente (Fragments), to music by Béla Bartók. In 1973, Bausch started as artistic director of the Wuppertal Opera ballet, as the Tanztheater Wuppertal [de], run as an independent company. In 1983, she played the role of La Principessa Lherimia in Federico Fellini's film And the Ship Sails On. Regardez immédiatement en replay L'héritage de Pina Bausch, diffusée le 10-01-21 10:01 Enfant, Pina Bausch aimait se réfugier sous les tables et observer les clients. C’est un hommage à la Hongrie, à Budapest, mais aussi une merveilleuse célébration sensuelle féminine comme vous le présente Michel Strulovici avec … "Kontakthof" is composed of Kontakt ("contact") and Hof ("court, courtyard"), resulting in "courtyard of contact," which is also a technical term for an area in some brothels where the first contact with prostitutes is possible. As a dancer she worked with Paul Taylor, Paul Sanasardo and Donya Feuer. The secret of this success may lie in the fact that Pina Bausch's dance theatre risks taking an unflinching look at reality, yet at the same time invites us to dream. The proximity of the other arts taught at the Folkwang School, including opera, music, drama, sculpture, painting, photography, design, was also an important influence on her, reflected later in the form of a wholly open approach to the media in her work as a choreographer. Water and rain allow the body to be seen through the clothes; earth makes every movement a feat of strength; the dancers' steps are traced in a layer of fallen leaves. En 1975, deux ans après son arrivée à l'opéra de Wuppertal, Pina Bausch (1940-2009) prend un risque : chorégraphier Le Sacre du Printemps sur la partition d'Igor Stravinsky. Some sources erroneously spell her name "Philippina". Aurélie Dupont, née le 15 janvier 1973 à Paris, est la directrice de la danse du ballet de l'Opéra national de Paris depuis le 4 février 2016 et une ancienne danseuse étoile de cette même institution. Signaler. The film premiered at the Berlin Film Festival in 2011. Pina Bausch - retrouvez toute l'actualité, nos dossiers et nos émissions sur France Culture, le site de la chaîne des savoirs et de la création. He takes her by the hand and leads her into the castle, the others follow ... Old English folk songs, Shakespeare songs. Her 1975 choreography for Igor Stravinsky's Le Sacre du printemps was to become a milestone; the emotional force and unmediated physicality of the piece became trademarks of her work. Reportage sur "Le sacre du printemps" de Pina BAUSCH, présenté à l'opéra Garnier. Dans la lignée des thèmes explorés par Bausch, Vollmond aborde la guerre des sexes et la difficulté de vivre ensemble. Pina Bausch au Théâtre de la Ville: une histoire d'amour de 34 ans. With this cast she was unable to deploy choreographic steps and so began by asking her performers associative questions around the themes of the play. It was then that her parents saw her potential.[7]. The works were created when Bausch was invited to visit and stay in 10 global locations – in India, Brazil, Palermo, Hong Kong, Los Angeles, Budapest, Istanbul, Santiago, Rome, and Japan – between 1986 and 2009. operadeparis. Pina Bausch's teachers included Antony Tudor, José Limón, dancers from Martha Graham's company, Alfredo Corvino and Margret Craske. Several of Pina Bausch's works were announced as Tanzabend because she chose a title late in the development of a work. Having already danced in the Solingen children's ballet, at fourteen Pina Bausch began studying dance with Kurt Jooss at the Folkwang School in Essen. 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,[8] where her teachers included Antony Tudor, José Limón, Alfredo Corvino,[9] and Paul Taylor. Il faut imaginer Pina Bausch observant ses danseurs pendant leurs répétitions. She created her first works in Wuppertal as guest choreographer, performed with members of the Folkwang Tanzstudio: Aktionen für Tänzer (Actions for Dancers) in 1971 and the Tannhäuser Bacchanal in 1972. Pina Bausch has been awarded many prizes and accolades for her work, including the New York Bessie Award in 1984, the German Dance Prize in 1995, the Berlin Theatre Prize in1997, Japan's Praemium Imperiale in 1999, Monte Carlo's Nijinsky Prize, the Golden Mask in Moscow in 2005 and the Goethe Prize of the city of Frankfurt in 2008. C'est un film dansé en 3D, porté par l’Ensemble du Tanztheater Wuppertal et l’art singulier de sa chorégraphe disparue à l’été 2009. The photo of Bausch's performance was previously released on Reddit as well as Twitter with the implication that it was from a Russian mental institution, but its source was quickly identified. Yet in making this unusual move, Pina Bausch had finally found the form her work would take, its dream-like, poetic imagery and bodily language justifying the worldwide success she soon achieved. From Kurt Jooss she had learned 'honesty and precision'. Slowly it became clear what dance theatre was about; not provocation, but, in Pina Bausch's own words, 'a space where we can encounter each other'. She will be remembered as one of the most significant choreographers of the twentieth century. 4:40. From the answers develop gestures, sentences, dialogues, little scenes." The show's central and most prolific scene was dedicated to the memory of Pina Bausch and involved performers linking arms and stripping naked a man and woman.[22]. We are not only here to please, we cannot help challenging the spectator. Répétitions et extraits de Komm Tanz mit mir (1977), Kontakthof (1978), Walzen (1982), 1980 (1983), Nelken (1983).] TV5MONDE. In January 1980 Pina Bausch's long-term life partner Rolf Borzik died. Two years after she had left for New York Kurt Jooss asked her to return to Essen. Seven of the works have not been seen in the UK.[19]. [25] The typical subtitle from 1978 was Stück von Pina Bausch (A piece by Pina Bausch). One thing with various other things. The young dance student Bausch thus acquired techniques for free creative expression as well as the command of a clear form. Voir la vidéo And the spaces are physical, affecting the dancers' movements. Kamryn Mikel. Its combination of poetic and everyday elements influenced the international development of dance decisively. In these two years, I have found myself. ", The details about the music for the works until 1986 follow a book by Raimund Hoghe who was dramaturg in Wuppertal. When, in 1960, Taylor was invited to premiere a new work named Tablet in Spoleto, Italy, he took Bausch with him. [5] She continued the European and American Expressionist movements in dance with modernist works in the highly dramatic mode of modern dance theatre dealing with psychological trauma arising from relationships. The confrontation with the true motives behind human movements was painful. To many people the grief and despair evoked in 1977's Blaubart – Beim Anhören einer Tonbandaufnahme von Bela Bartóks Oper "Herzog Blaubarts Burg" (Bluebeard. Jooss was a significant proponent of pre- and post-war German modern dance which had freed itself from the shackles of classical ballet. The Tanztheater Wuppertal has no obligations other than to human beings and thus to a humanism which recognises no borders. Visionnez gratuitement les vidéos du programme L'incontournable en streaming sur Auvio. Bausch was married to Dutch-born Rolf Borzik, a set and costume designer who died of leukaemia in 1980. La chorégraphe et danseuse allemande du Tanztheater de Wuppertal (ouest de l'Allemange), Pina Bausch, est morte mardi matin à l'âge de 68 ans. It takes the spectators' everyday lives seriously yet at the same time buoys up their hopes that everything can change for the better. In the early Wuppertal years this lead to consternation among press and public. This global theatre is generous, relaxed in its perception of the world and thoroughly charming towards its audience. Awarded some of the greatest prizes and honours world-wide, Pina Bausch is one of the most significant choreographers of our time. Stills from the performance and the episode show a group of women seemingly defying gravity as they cling to the walls high above the ground, toes pointed down and hands pressed above them. La japonaise Kyomi Ichida a dansé pour Pina Bausch de 1982 à 1998. It's all separate to start with. The humour and the beauty, often overlooked in the beginning, even when they lay in the apparently ugly, were gradually understood over the years. There is no music. Mes spectacles parlent de l’amour et de la vie. Le commentaire sur des images du spectacle alterne avec une interview de la chorégraphe. La passion est au coeur de l'oeuvre de Pina Bausch. "Improvisation and the memory of [the dancer's] own experiences ... she asks questions—about parents, childhood, feelings in specific situations, the use of objects, dislikes, injuries, aspirations. With the two Gluck operas Iphigenia in Tauris (1974) and Orpheus and Eurydice (1975) she created the first dance operas. Pina Bausch was born 1940 in Solingen and died 2009 in Wuppertal. There are only answers: sentences, little scenes someone's shown you. As the Folkwang Tanzstudio needed new pieces, she began to choreograph independently and created works such as Fragment or Im Wind der Zeit (In the Wind of Time), for which she was awarded first prize at the International Choreographic Workshop of 1969 in Cologne. She was born in 1940 in Solingen as Philippine Bausch; under her nickname Pina she was later to gain international standing from nearby Wuppertal with her dance theatre. EN DÉSÉQUILIBRE. À partir de 1979, Gérard Violette accueille Pina Bausch au Théâtre de la Ville à Paris. He had succeeded in re-invigorating the Folkwang Ballet, subsequently re-named the Folkwang Tanzstudio. It is with this freedom that the dancer feels secure in going deep within themselves. "Ich bring dich um die Ecke," literally "I'll take you around the corner," can mean "I'll accompany you around the corner" but also colloquially "I'll kill you." Bausch died on 30 June 2009 in Wuppertal, North Rhine Westphalia, Germany at the age of 68[20] of an unstated form of cancer attributable to smoking,[21] five days after diagnosis[5] and two days before shooting was scheduled to begin for the long-planned Wim Wenders documentary. The translations are given as on the website of Tanztheater Wuppertal Pina Bausch. Passion de la chorégraphe allemande pour ses danseurs, et réciproquement. She learned to observe people, above all the fundamental things which drive them. Aurélie DUPONT s'échauffe à la barre. Under this name, although controversial at the beginning, the company gradually achieved international recognition. It is a theatre which remains free of all ideology and dogma, viewing the world with as little prejudice as possible and acknowledging life – in all its facets. She had a very specific process in which she went about creating emotions. Danse: Orphée et Eurydice par Pina Bausch. [26], German dancer, choreographer, dance teacher and ballet director. Il lui restera fidèle jusqu'à sa mort en 2009, et certaines de ses créations continuent encore aujourd'hui à se jouer. It is a theatre that does not aim to preach, instead creating an elemental experience of life, which each spectator is invited to participate in along with the dancers. Yet her early experience of the war is also reflected in the pieces, in sudden outbursts of panic, fear of an unnamed danger. Enthused by the diversity of cultural life in New York, she remained for a further year. Soon after the director of Wuppertal's theatres, Arno Wüstenhöfer, engaged her as choreographer, from autumn 1973, she renamed the ensemble the Tanztheater Wuppertal. The result of this joint investigation was premiered on 22 April 1978 in Bochum under the lengthy title Er nimmt sie an der Hand und führt sie in das Schloss, die andern folgen (He takes her by the hand and leads her into the castle, the others follow) and was almost drowned out by the storm of protest from the audience. Pina was accepted into Kurt Jooss's the Folkwangschule at age of 14. In 1958 Pina Bausch was awarded the Folkwang Leistungspreis and, armed with a grant from the Deutschen Akademischen Austauschdienst (German Academic Exchange Service: DAAD) she spent a year as 'Special Student' at the Juilliard School of Music in New York. Several universities have awarded her an honorary doctorate. [15] Later that year, she met Ronald Kay, and in 1981 they had a son, Rolf-Salomon T.[16], Among the honours awarded to Bausch are the UK's Laurence Olivier Award and Japan's Kyoto Prize. Philippine "Pina" Bausch (27 July 1940 – 30 June 2009) was a German dancer and choreographer who, with a blend of movement, sound, and prominent stage sets, and with performers during the development of a piece (a style now known as Tanztheater), became an influence in the field of modern dance from the 1970s on. It's absolutely frightening to do a work when you have nothing to hold on to." [12] She stated: "It is almost unimportant whether a work finds an understanding audience. In 1974, with Ich bring dich um die Ecke (I'll Do You In), she entered the frivolous world of popular songs, while Komm, tanz mit mir (Come Dance with Me) used old German folk songs and Renate wandert aus (Renate Emigrates) played on the clichés of operetta (both 1977). In taking people's essential emotions as its starting point - their fears and needs, wishes and desires - the Tanztheater Wuppertal was not only able to be understood throughout the world, it sparked an international choreographic revolution. A large portion of her ensemble no longer wished to work with her as there was little conventional dancing in her pieces. Et de toutes les couleurs de ceux-ci : les belles et les laides. Pendant cinq semaines, la cinéaste Chantal Akerman a suivi une tournée du Tanztheater Wuppertal, la compagnie cosmopolite de Pina Bausch. Folk music from Lombardy, Tuscany, Southern Italy, Sardinia and Bolivia, medieval dance music, Russian Waltz, music from New Orleans, dance music of the 1930s, music by Tchaikovsky, Buxtehude, Dvořák and Khachaturian, a.o. Company, Artistic Practices and Reception. The same action makes you feel something completely different by the end." All the men and women in Pina Bausch's pieces can do is test out, with the utmost precision and honesty, what brings each and every one closer to happiness, and what pushes them further from it; they cannot offer a panacea. And by the time I've found the next thing is right, then the little thing I had is already a lot bigger. [17] In 2008, the city of Frankfurt am Main awarded her its prestigious Goethe Prize. For the tour, Bowie "wanted to bridge together some kind of symbolist theatre and modern dance" and used Bausch's early work as a guideline. But along with her talent for drama Pina Bausch also demonstrated a sense of humour right from the start, seen for instance in her Brecht/Weill double-bill Die sieben Todsünden (The Seven Deadly Sins) and Fürchtet Euch nicht (Don't Be Afraid) of 1976. A mediator between cultures, it is a messenger of freedom and mutual understanding. In 1978 Pina Bausch changed her working methods. Elle fume constamment, a les cheveux bruns coiffés en queue de cheval basse, et porte toujours un même uniforme neutre, androgyne. They always, however, leave their public in the certainty that - despite all its ups and downs - they will survive life. Bausch demonstrated both these values, unleashing dramatic energy of a kind never seen before. Bausch was born in Solingen, the daughter of August and Anita Bausch, who owned a restaurant with guest rooms which is where she was born. ", Male-female interaction is a theme found throughout her work, which has been an inspiration for—and reached a wider audience through—the movie Talk to Her, directed by Pedro Almodóvar. A Piece by Pina Bausch 2020/2021: Wuppertal World-Premiere 22.04.1978, Bochum Details I'll Do You In Popmusic ballet by Pina Bausch with Dance Music Hits from the past World-Premiere 08.12.1974, Wuppertal Details Le commentaire sur des images de la répétition et des extraits du spectacle alternent avec les interviews de danseurs. Le commentaire sur des images du spectacle alterne avec les interviews des danseurs Cristiana MORGANTI et Pascal MERIGHI. 4 Chorégraphie Pina Bausch 1975 L´Opéra Wuppertal, Tanztheater Wuppertal, L´Elue Malou Airaudo. lang.[13]. It was renamed later: Tanztheater Wuppertal Pina Bausch. Her pieces are constructed of short units of dialogue and action, often of a surreal nature. Philippina Bausch, alias Pina Bausch, née le 27 juillet 1940 à Solingen (Allemagne) et morte le 30 juin 2009 à Wuppertal, est une danseuse et chorégraphe allemande. All music was afforded the same value, as long as it expressed genuine emotions. She stated, "In the end, it's composition. Her parents ran a restaurant in Solingen attached to a hotel where, along with her siblings, Pina helped out. While listening to a tape recording of Bela Bartók's opera "Duke Bluebeard's Castle") in which passages of the music are repeated relentlessly, felt like torture. Orphée et Eurydice - Pina Bausch. The description Tanztheater, or dance theatre, originally used by Rudolf von Laban in the 1920s, is a statement of intent; it stands for an emancipation from mere balletic routines and the complete freedom to chose one's means of expression and Pina Bausch now developed several new genres in quick succession. In 2009, Bausch started to collaborate with film director Wim Wenders on a 3D documentary, Pina. Sur les pas de Pina Bausch 18h12 , le 10 octobre 2010, modifié à 12h18 , le 19 juin 2017. [14] The Tanztheater Wuppertal Pina Bausch made its American debut in Los Angeles as the opening performance of the 1984 Olympic Arts Festival. Now, however, she was obliged to finance her stay and found employment with Antony Tudor at the Metropolitan Opera. [24], The following table shows works since 1973. Then at a certain point I'll take something which I think is right and join it to something else. transcript, Bielefeld 2020, This page was last edited on 29 December 2020, at 11:04. [6] She created the company Tanztheater Wuppertal Pina Bausch, which performs internationally. When talking about her process she stated, "There is no book. Le commentaire sur des images du spectacle alterne avec une interview de Pina BAUSCH. Repetition is an important structuring device. Like the pieces themselves, stages sets and costume reflect everyday life yet continually exceed it, ascending into dream-like beauty and weightlessness. Pina Bausch, de son vrai prénom Philippine, est née en 1940, à quelques kilomètres de Wuppertal, à Solingen. There is only life and us. 5:51. The distinction between 'serious' and 'popular' music, still firmly upheld in Germany, was of no significance to her. Au Théâtre de la Ville à Paris, Pina BAUSCH et le Tanztheater Wuppertal créent le ballet "Nur du" sur la musique de The Platters, "Only you". In 1999, she was the recipient of the Europe Theatre Prize. La chorégraphe Pina BAUSCH présente sa dernière création, "Nefes", au Théâtre de la Ville, à Paris. Bausch had most of the dancers perform this piece with their eyes closed. She would perform for all of the guests in the hotel and occasionally go into their rooms and dance while they were trying to read the newspaper. Ses parents tiennent un café-restaurant. The same year, choreographer and experimental theatre-maker Dimitris Papaioannou created a piece called Nowhere to inaugurate the renovated Main Stage of the Greek National Theatre in Athens. Philippine "Pina" Bausch[1][2][3][4][a] (27 July 1940 – 30 June 2009) was a German dancer and choreographer who, with a blend of movement, sound, and prominent stage sets, and with performers during the development of a piece (a style now known as Tanztheater), became an influence in the field of modern dance from the 1970s on. The restaurant provided Pina with a venue to start performing at a very young age. [10] It was in New York City that Pina stated, "New York is like a jungle but at the same time it gives you a feeling of total freedom. The thrilling Frühlingsopfer (The Rite of Spring) (1975) required the stage to be completely covered with soil. In her later work her affinity to opera and her respect for musical tradition was to play a equal role to, for instance, her love of jazz.

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