Where is pina showing usa

Whether Wender's work is considered a film, eulogy or a documentary, I can say that I have never felt so much for a production of moving pictures before that I would feel the necessity to express my thoughts through written words.

I have a great passion for dance and used to practice it a lot more a few years ago. Hence, this film was a must-see for me whatever whoever says. The downside with dance on film is the failure of the screen to convey depth, and I didn't find the 3D effects particularly impressing here, I must admit. But then again, without it, I am sure it would be hard not to get dull watching minutes of flat images, sometimes randomly and unexpectedly cut of the context.

Because there is no storyline in the film. Not very much of replicas either to explain in clear words why or if the different pieces are linked together, and definitely nothing to tell about Pina Bausch's private life. But that is also what makes this film so clean and consistent; dance says it all.

If Pina lived today, her presence in the film would certainly be more evident to us. The film would let us follow her and her dance company on performances with more straight forward dialogues. Instead, the spirit of Pina is expressed through dance here. Dance is the way she would use to communicate her messages to the world, so why would words then be necessary? Even less, why would personal details of her life matter in this film when what we will remember of her, as with other known names throughout the history, will be for their creations, inspirations and contributions to our world?

Pina's art is shown piece by piece in the film featuring choreographies and performing arts carried out by her closest dancers in different milieux. Both outdoors in the open landscape and modern cityscape, as well as indoors on a stage. It expresses diversity and unity at the same time, gives life to poetry and most remarkably, making music visible in a way that I have not seen in a film before.

It describes relationships between men and women, young and old, human and nature, along with senses of loneliness, yearning, passion, pain and joy mixed with a dose of subtle humour. If her work required the stage to be covered with pounds of soil or sand, which it often did, she would ensure that it was done. Her piece Vollmand Full Moon uses a giant boulder onstage and many gallons of falling water raining down from the rafters.

Pina embraced the art of spectacle, which is fully present in the film. However, at the core of her work was a pure understanding of the human condition. Through movement, Pina brought out the inner life of everyday people. Pina was not afraid to send her dancers away from aesthetic beauty if doing so would display the full honesty of emotion.

Wenders intersperses performance footage of these pieces with spoken words from her dancers and Pina herself. Her parents ran a restaurant in Solingen attached to a hotel where, along with her siblings, Pina helped out.

She learned to observe people, above all the fundamental things which drive them. 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.

Yet her early experience of the war is also reflected in the pieces, in sudden outbursts of panic, fear of an unnamed danger. Jooss was a significant proponent of pre- and post-war German modern dance which had freed itself from the shackles of classical ballet.

In his teaching, however, Jooss sought to reconcile the free spirit of the dance revolutionaries with the fundamental rules of ballet. The young dance student Bausch thus acquired techniques for free creative expression as well as the command of a clear form. 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.

The city was seen as a dance Mecca, where classical ballet was being reinvented thanks to George Balanchine and modern dance further developed. She took every opportunity to see performances and absorbed all the various tendencies. Enthused by the diversity of cultural life in New York, she remained for a further year. Now, however, she was obliged to finance her stay and found employment with Antony Tudor at the Metropolitan Opera. 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.

The distinction between 'serious' and 'popular' music, still firmly upheld in Germany, was of no significance to her. All music was afforded the same value, as long as it expressed genuine emotions. It was a shock for me. My parents had a small hotel with a restaurant in Solingen. Just like my brothers and sisters, I had to help out there. I used to spend hours peeling potatoes, cleaning the stairs, tidying rooms — all the jobs that you have to do in a hotel.

But, above all, as a small child I used to be hopping and dancing around in these rooms. The guests would see that too. Members of the chorus from the nearby theatre regularly came to eat in our restaurant.

I was five at the time. Right at the very beginning, I had an experience I shall never forget: all the children had to lie on their stomachs and lift up their feet and legs, bending them forwards and placing them to the right and left of their heads.

Not all the children were able to do this, but for me it was no problem at all. Yet I knew from the intonation, how she had said the sentence, that it must be something special. From then on, that was where I always wanted to go. There was a garden behind our house, not very large. Behind it was what used to be a gardening centre. My parents had bought this plot of land in order to open up a garden restaurant. They started off with a round dance floor made of concrete. Unfortunately nothing came of the rest.

But for me and all the children in the neighbourhood it was a paradise. Everything grew wild there, between grasses and weeds there were suddenly beautiful flowers. In summer we were able to sit on the hot? Old couches on which we were able to jump up and down as if on a trampoline.

We played zoo. Some children had to be animals, the others visitors. Of course, we made use of the dance floor. We used to play as if we would be famous actors. Whenever she came, someone would make a sign and everybody would hide. Because there was a factory nearby that made chocolate and sweets, we children would always stand on the drains from which the warm and sweet vapours were coming. Even the restaurant in our hotel was highly interesting for me.

In the evenings, when I was actually supposed to go to bed, I would hide under the tables and simply stay there. I found what I saw and heard very exciting: friendship, love, and quarrels — simply everything that you can experience in a local restaurant like this. I think this stimulated my imagination a great deal. I have always been a spectator.

I was more silent. My first time on the stage, I was five or six. The sultan lay on a divan with many exotic fruits. I was made up and dressed as a Moor and had to spend the whole performance wafting air towards him with a great fan. Admittedly, nobody could see it, but for me it was very important. I was allowed to play in many operas, operettas, dance evenings, and ultimately even in the dance evenings as part of the group. Nothing else but dance. I was desperate and embarrassed and I refused to try it.

Weeks later, the teacher came to our home and asked why I had stopped coming. From then on I started going again of course. The presents from my mother were sometimes embarrassing. She went to a tremendous amount of effort to find special things for me. For example, at the age of 12 I received a large fur coat — I had the first pair of long, checked trousers that appeared in the shops — I was given green, square shoes. I wanted to be inconspicuous. My father was a great figure of a man with a good sense of humour and lots of patience.

He had a wonderfully loud whistle. As a child, I always loved sitting on his lap. He had unusually large feet — size His shoes had to be made especially for him. And my feet were getting bigger and bigger too. When I was twelve, I had size Once my father became very ill and had to take a rest cure. I was 12 years old.

Two neighbours looked after me, and I managed the pub all on my own. For two weeks I took care of the pub all alone, pulled the beers and looked after the guests. I learnt a great deal while doing it. I found this very important and also very pleasant. I used to love doing homework. It was a tremendous pleasure, maths exercises in particular. Not so much the exercises themselves, but writing them and then seeing what the page looked like.

When Easter came, we children had to look for Easter eggs. My mother came up with hiding places that took me days to find. I loved searching and finding. My mother loved walking barefoot in the snow. And also having snowball fights with me, or building igloos. She also liked climbing trees. And she was tremendously frightened during thunderstorms. She would hide in the wardrobe behind the coats.

There was one occasion, for example, when she wanted to go to Scotland Yard. Although my mother knew nothing about technical matters, she always astonished me. There was one time when she took a broken radio completely apart, repaired it and then somehow put it together again. Before my father bought the small hotel with the restaurant in Solingen, he was a long-distance truck driver.

He came from a rather humble family in the Taunus Mountains and had a lot of sisters. In the beginning he had a horse and cart for transporting goods. Later he bought a lorry and he then drove all over Germany in it.

Not once in his whole life did my father tell me off. My father was someone you could depend on absolutely. My parents were very proud of me although they almost never saw me dance.

They were never particularly interested in it either. But I felt myself greatly loved by them. They trusted me; they never blamed me for anything. I never had to feel guilty, not even later on. It is the most beautiful gift they could have given me. At the age of 14, I went to Essen to study dance at the Folkwang School.

The important thing for me there was meeting Kurt Jooss. He was a co-founder of this school and one of the very great choreographers. The Folkwang School was a place where all the arts were gathered under one roof. It not only had the performing arts such as opera, drama, music and dance but also painting, sculpture, photography, graphics, design and so on. There were exceptional teachers in all departments. In the corridors and the classrooms there were notes and melodies and texts to be heard, it smelled of paint and other materials.

Every corner was always full of students practising. And we visited each other in the different departments. In this way many joint projects came into being as well. It was a very important time for me. Kurt Jooss had outstanding teachers in his department.

He also brought in teachers and choreographers to Essen whom he regarded highly, especially those from America, and they would teach courses or stay in Essen for longer periods of time.

I learnt a great deal from them. In any case a very important part of the training was to have a foundation — a broad base — and then after working for a lengthy period of time, you had to find out for yourself, what have I to express.

What have I got to say? In which direction do I need to develop further? Perhaps this is where the foundation stone for my later work was laid. Jooss himself was something special for me. He had a lot of warmth and humour and an incredible knowledge in every possible field. It was through him, for example, that I first really came into contact with music at all, because I only knew the pop songs from our restaurant, which I had heard on the radio.

He became like a second father. His humanity and his vision, those were the most important things for me. What a stroke of luck it was meeting him at such a crucial age. During my studies there was a time when I had terrible back pain.