紐約時報除了 Alastair MACAULAY 寫的一篇評價鮑許的文章「一個社會化自我與苦悶本我戰鬥的舞台 "A Stage for Social Ego to Battle Anguished Id"」外，還製作了這個「照片集」。
碧娜‧鮑許德國的編舞家，以結合強烈的戲劇性與夢一般的動作，創造出來一種強而有力的形式－舞蹈劇場，也影響了好幾世代的編舞者。鮑許的創作是源自於戰前德國的表現主義－這使得鮑許改變了一般人對舞蹈與劇場的認知。
鮑許創立了一種廣為其他編舞者仿效的篇舞方式：她問舞者一些像是關於回憶或日常生活的問題，並要求舞者演繹出這些回想，從他們的回應中創造出許多小戲劇，然後一部作品便由這種互動中發展而成。
碧娜‧鮑許啟發了許多舞蹈家，看過許多台灣知名舞蹈家在接受訪問時都提及受其影響。「碧娜.鮑許的作品就是人性，人生是什麼她就是什麼。」林懷民說：「你可以不喜歡她，但沒有人可以忘記她。對全世界舞蹈發展有重大影響的人，一隻手數得出來，她絕對是其中之一！」
對拓展舞蹈視野與新領域的編舞家，心中有一分敬意；對一個舞蹈巨擘的過世，心中感到十分惋惜。我這個舞蹈的門外漢，只是單純的喜歡「舞蹈」－這種身體隨音樂律動的活動。古典芭蕾雖然討喜，但看了幾部之後，就常覺得了無新意；「現代舞」雖然「看不懂」但總有一份期待，也常感到意外。
Pina Bausch, the German choreographer who
combined potent drama and dreamlike movement to create a powerful form of dance theater and influenced generations of dance-makers, died of cancer on June 30 in Wuppertal, Germany.
The choreographer rehearsing her piece "Café Müller" in 1995 at the Festival Avignon in France.
Photo: Anne-Christine Poujoulat/Agence France-Presse — Getty Images
Ms. Bausch, whose roots were in
pre-war German Expressionism, helped
change the perception of what could be brought into a dance performance — a deep sense of theatrically, apparently disconnected and sometimes absurd episodes and elaborate and unusual sets, such as a carpet of carnations and a collapsing wall.
Ms. Bausch in "Café Müller" at Wuppertal, her company's home in Germany, in 1994.
Photo: Maarten Vanden Abeele
One of her most important early works, "Cafe Müller," was based on memories of having grown up in the restaurant and hotel run by her parents.
Photo: Ursula Kaufmann/Agence France-Presse — Getty Images
Ms. Bausch established a method of creating dances that was widely copied. She would begin rehearsals by asking specific questions of the dancers — about memories, about their daily lives. She would ask them to act out the recollections, and create mini-dramas from their responses. The dance would grow out of that work, as well as a sense of place derived from foreign residencies.Ms. Bausch performing in "Danzon" in 1995 when the ballet was first created in Wuppertal.
Photo: Maarten Vanden Abeele
The ideas and feelings were often harsh, such as frustration and alienation, cruelty and pain, but the works were often suffused with humor. She was quoted as saying that
she is “not interested in how people move, but in what moves them.”Barbara Hampel of Tanztheaer Wuppertal performing in "Danzon" in 1995.
Photo: Maarten Vanden Abeele
Dancers in Ms. Bausch's production of Gluck's "Iphigenie auf Tauris" at the Edinburgh International Festival in 1996.
Photo: Sean Hudson
Her influence is clear in the work of European choreographers like Jan Fabre, Anne Teresa de Keersmaeker, Sasha Waltz and Alain Platel. Her work has also been
a major influence on American contemporary dance choreographers who question the boundaries between theater and dance.A scene from "Orpheus and Eurydice" at the Opera Garnier in Paris in 2005.
Photo: Ursula Kaufmann
Ms. Bausch was born on July 27, 1940, in Solingen, also near Düsseldorf. She started dance study at 14, at the Folkwang School in Essen, which was directed by Kurt Jooss, a major figure in German dance before World War II whose antiwar masterpiece
“The Green Table” (1932) is still performed. After graduating in 1958, she received a scholarship to continue her studies in the United States, working with José Limon, Antony Tudor and others at the Juilliard School.
Ms. Bausch performing in "Danzon" in Wuppertal in 2007.
Photo: Uwe Schinkel
She quickly joined Tudor's company, the New American Ballet at the Metropolitan Opera and also worked with Paul Taylor. In his autobiography, Mr. Taylor described her back then as a Tudor favorite, homesick for Germany and “one of the thinnest human beings I've ever seen.” As a dancer, he said, she could “streak across the floor sharply, though a bit unevenly, like calipers across paper.” “She's also able to move slower than a clogged-up bicycle pump,” Mr. Taylor added.
Ruth Amarante and Jorge Puerta Armenta in Ms. Bausch's "Nefés," an exploration of Istanbul, part of the Next Wave Festival at the Brooklyn Academy of Music in 2006.
Photo: Stephanie Berger for The New York Times
In 1962, Ms. Bausch returned to Germany and joined Jooss's Folkwang Ballet as a soloist. She took up choreography, making her first work, “Fragment,” in 1968. She succeeded Jooss as company director the next year.
Members of the Tanztheater Wuppertal performing in "Nelken" ("Carnations") in Wuppertal in 2008.
Photo: Uwe Schinkel
In 1973, she took over a company in Wuppertal, which was quickly renamed Tanztheater Wuppertal, and created her first work there, “Fritz,” with music by Wolfgang Hufschmidt. But what really captured the dance world's attention was a
1975 production of Stravinsky's “Rite of Spring,” on a stage covered with dirt. She revived “The Rite of Spring” for the Paris Opera Ballet in 1997.
Dancers rehearsing "The Rite of Spring" in July 2007 prior to the opening of the Avignon Festival.
Photo: Anne Christine Poujoulat/Agence France-Presse
Clémentine Deluy in "Bamboo Blues" in 2008. This sequence of powerful dances inspired by Indian culture includes video projections and music from contemporary Indians.
Photo: Angelos Giotopoulos
Another scene from "Orfeo and Euridice" at the Epidaurus Ancient Theater in Greece in July 2008.
Photo: Evie Fylaktou/European Pressphoto Agency
Dancers performing in "Wiesenland" at the Theatre de la Ville in Paris in January 2009.
Photo: Franck Fife/Agence France-Presse — Getty Images
In an interview with Le Figaro in 2005, she said the dancers had plenty of technique. “I look for something else,'' she said, ''
the possibility of making them feel what each gesture means internally. Everything must come from the heart, must be lived.''
A scene from "Tanzabend" in Wuppertal in June 2009.
Photo: Rolf Vennenbernd/European Pressphoto Agency
Dancers rehearsing "Tanzabend" in the Opera House in Wuppertal in June 2009.
Photo: Rolf Vennenbernd/European Pressphoto Agency
The photos and stories were taken from the New York Times. The copyright of these photos and captions remain with their original owners. "The New York times" is the registered trademark of The New York Times Company. The New York Times is not involved with, nor endorse the production of this blog.
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