Pina Bausch: Dancing across Borders

Author(s): Johannes Birringer

Source: The Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 85-97
Published by: The MIT Press
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P i n a B a u s c h
Da n c i n g
Ac ros s B orders
Joh a n n es B i rri n ger
It i s n ot too
lon g a go
th a t th e
1984 Olympi c
Arts Fes ti va l i n Los
An ge-
les ,
wi th i ts ma ra th on
progra m
of more th a n
400 performa n c es
a n d exh i -
bi ti on s from
18 c ou n tri es ,
wen t ou t of i ts
wa y
to demon s tra te th e s edu c -
ti ven es s of
s pec ta c u la r c on s u mpti on
i n th e n a me of th e a rts .
Or, ra th er,
i n
th e n a me of
ma jor forei gn
a rti s ts wh o were
brou gh t togeth er
s o th a t
c orpora te s pon s ors
a n d mu lti n a ti on a l c u ltu re
produ c ers
c ou ld
s pea k
of
th ei r a rt a s a
"u n i vers a l
la n gu a ge,
a
bri dge
of i llu mi n a ti on th a t c on n ec ts
a ll of u s "
(th e Olympi c
Arts Fes ti va l
Ca ta log).
Wh a tever th e h i dden moti ves of s u c h
a dverti s i n g,
i t i s a
ges tu re
towa rd
a ki n d of i n n oc en t a n d i mmedi a te
c on s u mpti on .
B u t wh en P i n a B a u s c h 's
Wu pperta ler
Ta n zth ea ter,
s ti ll u n kn own i n th i s
c ou n try
ou ts i de of New
York,
open ed
th e
Olympi c
Fes ti va l wi th s u c h
emoti on a lly deva s ta ti n g
pi ec es
a s
Ca f
Mi i ller
(1978)
a n d B lu ebea rd
(1977),
th e Fes ti va l h a d i ts fi rs t
u n predi c ted
s c a n da l.
Wi th th e
h ype s u rrou n di n g
B a u s c h 's retu rn to th e
B rooklyn Ac a demy
of Mu s i c 's
1985
Next Wa ve Fes ti va l
(s h e
wa s th ere fi rs t i n
1984),
we
en tered a s ec on d
s ta ge
i n th e
rec epti on
of h er
"la n gu a ge"
a n d i n th e c ri t-
i c s '
predi c ta ble
en tren c h men t. Wh erea s B AM c a n a fford to be i ron i c
by
a n n ou n c i n g
th a t th e Wes t Germa n ta n zth ea ter wi ll
h elp "deprovi n c i a li ze
New York
Ci ty" (Li c h ten s tei n 1985:4),
i t i s s omewh a t more
perplexi n g
to n oti c e h ow th e c ri ti c a l
wri ti n g
on
performa n c e
i n New York
Ci ty
mi mi c s th e n ew
provi n c i a li s m by la u n c h i n g
i ts defen s i ve mi s s i les
a ga i n s t
th e
c h a llen ge
of B a u s c h 's i n era di c a ble Germa n n es s .
An n a
Ki s s elgoff
of Th e New York
Ti mes ,
for
exa mple,
fa lls ba c k i n to
u n wa rra n ted c li c h es . Sh e
a rgu es
th a t a u di en c es a c c u s tomed to th e forma l-
i s t a es th eti c of th e Un i ted Sta tes '
"pu re
da n c e" a re
n ec es s a ri ly
s ta rtled
wh en
th ey
s ee th e i n n ova ti ve i n tera c ti on between th ea ter a n d da n c e i n
forei gn
works
(s u c h
a s th os e
by B a u s c h , th e Fren c h
Grou pe
Emi le Du -
boi s , a n d bu toh
performers )
th a t h a ve
pu s h ed
th e borders of th ei r di s c i -
pli n es by a ddi n g expres s i on , feeli n g,
a n d
a n gs t
to th e form
(1985:HI4).
Wh en
Ki s s elgoff
a s ked B a u s c h wh eth er s h e wou ld be i n teres ted i n work-
i n g on ly
wi th
"pu re
form" a n d wi th ou t th e n eed to
expres s feeli n g,
th e
c h oreogra ph er proba bly
di dn 't even u n ders ta n d th e
qu es ti on .
I'm
gla d, h owever, th a t i t wa s a s ked bec a u s e i ts
s tri ki n g di s i n gen u ou s -
n es s a n d i n c oh eren c e i n ti ma te th e more
gen era l
brea kdown of c ri ti c a l fa c -
u lti es a n d
la n gu a ges vi s -a -vi s
a
plu ra li s ti c
a n d di vers i fi ed c u ltu re. A c u l-
85
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86 P i n a B a u s c h
tu re i n wh i c h th ere a re n o
pu re,
a u ton omou s forms bu t c on s ta n t
tra n s forma ti on s , mu ta ti on s ,
a n d
rec a pi tu la ti on s i n evi ta bly produ c i n g
i n -
di fferen c e to th e
s pec i fi c
borders
(a n d i deologi c a l li mi ts )
of a work of
a rt,
of a
performa n c e.
An d
oc c a s i on a lly, th ey
a ls o
produ c e
fa s h i on a ble,
s elf-
s ti mu la ti n g
c on trovers i es a bou t
equ i voc a l mea n i n gs ,
a s i f th e c on di ti on s
for a n
u n equ i voc a l,
a dvers a ri a l
a va n t-ga rde
s ti ll exi s ted.
Th e borderli n e i n B a u s c h 's ta n zth ea ter i s th e c on c rete h u ma n
body,
a
body
th a t h a s
s pec i fi c qu a li ti es
a n d a
pers on a l h i s tory-bu t
a ls o a
body
th a t i s wri tten
a bou t,
a n d wri tten i n to s oc i a l
repres en ta ti on s
of
gen der,
ra c e,
a n d c la s s . We ten d to ta ke
repres en ta ti on s
of th e
body
for
gra n ted,
wh eth er we s ee th em i n
a dverti s emen ts , fi lms ,
ph otogra ph s , porn ogra -
ph y,
or i n th e
bea u ti fu l,
eth erea l
pos es
of ba llet da n c ers .
Every pos e,
ev-
ery
s ti ll,
a n d
every
movemen t of th e
body pa rta kes
i n th e
pa rti c u la r
re-
pres en ta ti on a l ec on omy
wi th wh i c h a c u ltu re di rec ts a n d domi n a tes wh a t
i s
perc ei ved
a s
rea li ty.
Ou r
ph ys i c a l
c on ven ti on s ,
li ke th e "offi c i a l"
i ma ges
of th e s exu a l
body,
a re
pa rt
of th a t
rea li ty
a n d th a t
perc epti on .
In B a u s c h 's works we a re
I.
B lu ebea rd
(1977):
In
B lu ebea rd's
c a s tle,
ma le
body-bu i ldi n g pros ti tu tes
i ts elf
i n
fron t of
a doll.
(P h oto by
Ulli
Wei s s )
-*N
.....
i .:i .i i i i i
i .
!!!i i i i i Ii i i i i !
i i !
li

i i !i i i i i i i i i i i i i i i i ......
?.
. .........I
.
......
.....................
i 9
i
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P i n a B a u s c h
87
R
Ax
e l.:::i
Ai r:-
;-:::AL
M
:-:::; b-,:
c on fron ted
di rec tly
wi th th e
ges tu s
of c on ven ti on s a n d i n tern a li zed n orms
we n o
lon ger
s ee. In Don 't B e
Afra i d (1976),
th e s edu c er
repea tedly s i n gs
"Look a t me-don 't be a fra i d" i n a s oft voi c e before h e th rows th e wom-
a n to th e
grou n d
a n d
ra pes
h er. Th e woma n
(Helen a P i kon ),
wh o res i s ted
th e s edu c ti on for a
lon g
ti me,
th en
gets u p
a n d
joi n s
a wh ori s h
c ompa n y
of men a n d women i n c olorfu l
s li ps
a n d c ors ets .
Th ey
da n c e th e
h i la ri ou s ,
c ros s -dres s ed da n c e of vi c ti ms wh o h a ve
grown tou gh
a n d
profes s i on a l.
"We a re th e
objec ts
of
you r
s u a ve
en tra pmen t" (text
from B a rba ra
Kru ger ph otogra ph , 1983):
bodi es a re
c on ti n u ou s ly
dres s ed
u p
a n d
down ,
a n d th e
ma ke-u p s pi lls
a ll over. Th i s lei tmoti f
c a ptu res
th e th ru s t of
B a u s c h 's
s ta gi n g
of th e Ku rt Wei ll
s on gs
a n d B ertolt B rec h t text i n Th e
Seven
Dea dly Si n s /Don 't
B e
Afra i d (1976).
Th e
s li ppi n g
of th e
s u bjec t pos i -
ti on s -wh o i s th e "we" a n d th e
"you r"?-i s
a c ru c i a l
dra ma tu rgi c a l
s tra t-
egy
i n h er work th a t s h ou ld n ot be overlooked
by
u s ,
th e a u di en c e. We
a re members of th e
ec on omy
of on lookers .
Th a t women
pos e
a n d a re
pos ed
a s vi c ti ms i n ou r
s oc i ety
i s
pa rt
of th e
problem,
a n d B a u s c h c on fron ts i t h ea d-dn i n h er
bi tterly
i ron i c trea tmen t
of B rec h ti a n di da c ti c i s m. B rec h t wa s a
powerfu l pa ra ble-ma ker
a n d th eo-
ri s t of h i s own
poli ti c a l
th ea ter. In Th e Seven
Dea dly
Si n s ,
h e tri ed to ra i s e
c ri ti c a l c on s c i ou s n es s
by demon s tra ti n g, th rou gh
th e dou ble
i ma ge
of
An n a I/An n a
II,
h ow women tea c h th ems elves to be s exu a l c ommodi ti es
u n der
c a pi ta li s m's
obs c en e revers a l of th e
"dea dly
s i n s " n ow
proc la i med
vi rtu es i f
on ly th ey
tu rn a
profi t
a n d
produ c e
mi ddle-c la s s c omfort.
La rg-
er s oc i a l
proc es s es
of
c on tra di c tory
s elf-edu c a ti on u n der
c a pi ta li s m
a re ex-
2. Don 't B e Afra i d
(1976):
Th e wou ld-be
ra pi s t,
wi th h a n ds i n
gloves ,
joi n s c ompa n y
wi th th os e
wh o h a ve
a lrea dy
been
vi c ti mi zed.
(P h oto by
Ulli
Wei s s )
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88 P i n a B a u s c h
o v. - i -ld i
..
..........
3.
Th e Seven
Dea dly
Si n s
(1976):
An n a I
(Jos eph i n e
An n
En di c ott)
s mi les a t th e
bri gh t fu tu re promi s ed
to
h er.
(P h oto by
Ulli
Wei s s )
pos ed,
i n oth er
words ,
by re-i mpos i n g
a n d
re-h ea rs i n g
th e
i ma ge
of
woma n -a s -vi c ti m.
In
Jos eph i n e
An n En di c ott's
performa n c e
of An n a
II
we s ee th a t
pro-
c es s of B rec h ti a n
i ma ge-ma ki n g expos ed,
too. In a ll B a u s c h 's
works ,
from th e
ea rly
Ri te
of Spri n g (1975)
to
1980 (1980)
a n d On th e Mou n ta i n a
Cry
Wa s Hea rd
(1984),
th e a u th ori ta ti ve ma le voi c e-over i s
repla c ed by
a n
es tra n gemen t
effec t th a t ma kes i ts elf felt
th rou gh
th e s ki n . Often we s ee
s i len t da n c es a n d
s tra n gely
fa mi li a r ri tu a ls
performed
wi th s u c h emoti on a l
i n ten s i ty
th a t th e
proc es s
of
wa tc h i n g
th e s c en e ma kes u s
pa i n fu lly
a wa re
of th e c on ven ti on s of
wa tc h i n g.
At th e s a me
ti me,
B a u s c h 's da n c ers a c -
kn owledge
a n d
i n ves ti ga te
th e
pres en c e
of a n a u di en c e.
Frequ en tly,
th e
h ou s e
li gh ts
c ome
on ,
a n d th e da n c ers s troll
a lon g
th e a i s les or c ome
down s ta ge looki n g c u ri ou s ly
a t th e on -lookers .
Oc c a s i on a lly th ey
s erve a
c u p
of
tea , or,
a s i n
Kon ta kth of (1978), th ey ma y
n eed to borrow a
qu a rter
from a
s pec ta tor
to
opera te
th e a u toma ti c
h obbyh ors e
on
s ta ge.
In
Kon ta kth of
th e
"s etti n g"
i n th e th ea ter i s
pu t
u n der i n ten s e
s c ru ti n y.
Th e a c tu a l c on s tra i n ts of
pu bli c expos u re/th ea tri c a l produ c ti on
a re th ema -
ti zed a n d s h own to
overla p
wi th th e
i n di vi du a lly experi en c ed c omplexes
a n d fea rs of
i n a dequ a c y.
Th e da n c ers
pa ra de u p
a n d down th e
s ta ge,
a c -
c ompa n i ed by bou n c y popu la r s on gs
a n d ba llroom
mu s i c ,
s en di n g u p
th e
c on c rete
worki n g
s i tu a ti on of
pu bli c performers . Th ey di s pla y
th ems elves
i n
profi le,
s h ow th ei r
ba c ks ,
th ei r
teeth ,
th ei r h a n ds a n d feet. Emba r-
ra s s ed
a ttempts
to h i de
ph ys i c a l i n a dequ a c i es -th e
brea s ts a re too
s ma ll,
th e n os e too
bi g,
th e dres s n ever
qu i te fi ts -i n termi n gle
wi th ou tbu rs ts of
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P i n a B a u s c h
89
i i i -.-.i -i
-i -~-i :i ~i i %i :i i rs a ~
B -- i i ~ ? :g-, :I : i --'~~ -:i i "::::::
_ j
:-::::
-'.?i :i --
i -:
i -~i --
.--:-
-::_:_::
4.
Kon ta kth of
(1978):
Th e
grou p
reh ea rs es s oc i a l
ri tu a ls , s eeki n g
c on ta c t a c ros s
th e borders
offorma li ty
a n d
c on ven ti on .
(P h oto by
Ulli
Wei s s )
5. 1980 (1980): Sh owi n g
off
th ei r kn ees a n d
legs ,
th e
da n c ers
develop
a
pa rody of
a ggres s i ve bea u ty c on tes ts .
(P h oto by
Ari c i &
Smi th )
-~i i li ~l~8
i i i i i ~
?;-?_:_
~i -i -i i i
...-
,"::::~,
i i i i i i i :i i *i i i i i i i i i i ;i s i i ::i i i i i i i -i i i .i " ::i
?i -?:
i ~i :i i ---_-
i :i i i .
:_i i i i :_i _ r
i i ''
:- i i i i i :
': : -? i s ?:l i 6- :_i
~:::::?:::1
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i i -i i :i i -i :i
i -i :i i i i -i :. i i ::
i i i i i ::?::_::
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i i :i i :;i
-
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i i i ~i i i ??
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-
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--a :?:- -J-i i i -
i i i i u i i ;i i i i
::;:: :-i - :::: : ::i :: -'- --
:::-i -~i
?~ ? ,f -i ' IIfs
:?;i ;l?'??:i ~i i ~F~ IB ~I ':'?' :::"
i
i i i i i i i : ---i -i :~:i -i
i i i -:-- :
i i '-i i i 6~~ ~ ~L \I: :ti ---::- -: i i :- .:
i i -i i :i : i i i -i -i i ::i i i i i
_-:i
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.:-::
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r::
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go
P i n a B a u s c h
c ompu ls i ve
exh i bi ti on i s m,
wh i c h th e
c ompa n y
members
a u toma ti c a lly
a ppla u d.
B a u s c h 's
pri n c i ple
of
mon ta ge,
i n h eri ted from th e B rec h ti a n th e-
a ter,
i s u s ed to i n terwea ve a n
extra ordi n a ry
s eri es of
s elf-revea li n g
mec h a -
n i s ms : th e wh ole
repeti ti ve c a ta log
of
ges tu res
a n d beh a vi ors wi th wh i c h
we s ell th e bes t
a s pec ts
of ou r
pers on a li ti es .
B a u s c h revea ls h ow i n di vi du a ls
feel
ph ys i c a lly c ompelled
to
pa rti c i pa te
i n th e
ga mes people pla y-s eeki n g rec ogn i ti on ,
a ffec ti on ,
a n d s oc i a l a c -
c epta n c e. Deeply
felt,
u n a dmi tted h u ma n tru th s a re
gli mps ed th rou gh
th e
fra gi le
ven eer of
ma n da tory
c on ven ti on s th a t
n ega te
s en s u a l freedom i n
th e fa c e of s i mu la ted
h a ppi n es s . P opu la r
roma n ti c
s on gs
a n d
Hollywood
c li c h es
a re
pla yed
off
a ga i n s t tra gi c omi c
effec ts
produ c ed by
th e
da n c ers '
"fu lfi llmen t" of ou r
expec ta ti on s . Th ey
s h ow u s h ow bea u ti fu l
th ey
a re,
h ow a ffec ti on a te a n d
a ggres s i vely
s u c c es s fu l
th ey
c a n
be,
a n d h ow
des per-
a tely th ey
n eed c on ta c t.
Ru n n i n g
towa rd th e fron t
rows ,
th ey
th rea ten to
fa ll over th e
edge
th a t
s epa ra tes
a u di en c e a n d
s ta ge.
Su c h
expli c i t
referen c -
es to th e s oc i a l
rea li ty
of th e th ea ter
merely h i gh li gh t
th e
proc es s th rou gh
wh i c h B a u s c h 's
c h oreogra ph y
of th e s oc i a l
ph ys i qu e
tra n s la tes emoti on a l
n eeds -experi en c ed
a s a
gen era lly oppres s i ve c ompu ls i on
th a t a s s u mes
s pec i fi c
ma le a n d fema le forms -i n to a wi der c on s tella ti on of c u ltu ra l a tti -
tu des towa rd th e
gen res
th a t i n form s u c h a tti tu des . Wi th ou t
effort,
a
B a u s c h
even i n g
c ros s es a n d rec ros s es th e bou n da ri es between love
s on g,
fi lm, ba llet, revu e, c i rc u s ,
a n d s oc i a l da n c e. Ea c h
c ros s i n g,
h owever,
re-
flec ts a
h i gh
a wa ren es s of th e c on ten t a n d th e
poten ti a l
i n h i bi ti on s of a
c h os en form. Th e a u di en c e's a u toma ti c
expec ta ti on s
of or
res pon s es
to
th e forms a re
i n c orpora ted
i n to th e
pa rodi c
a c ti on on
s ta ge.
Someti mes ,
th e da n c ers
(a n
Mi n a ri k a n d
Domi n i qu e Merc y
i n
pa rti c u -
la r) grotes qu ely exa ggera te
th i s
dou bli n g
of th ea ter
rea li ty;
more
often ,
th ey pla n
th es e s h i fts from on e emoti on a l
a tmos ph ere
to a n oth er wi th
6. Ri te of
Spri n g (1975):
Th e
s a c ri fi c i a l
vi c ti m h a s
been c h os en a n d
prepa res for
h er dea th .
(P h oto by
Ulli
Wei s s )
.............. .,
44 ,
i i i i i i i i
:
i i i i i
::..: ::::: ::::: -: .... :: :
:.....
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P i n a B a u s c h
91
perfec tly dea dpa n
s eri ou s n es s . Th ere a re c erta i n li mi ts to th e
c ros s i n gs ,
of
c ou rs e. I h a ve s een th e
c ompa n y perform
i n
Germa n y, Ita ly, Fra n c e, a n d
th e
U.S.,
a n d ea c h ti me
th ey
ma ke c on s i dera ble efforts to
a pproa c h pa r-
ti c u la r a u di en c es . Th e
s poken
bi ts of
di a log
a re
u s u a lly
ren dered i n th e
la n gu a ge
of th e h os t
c ou n try.
Neverth eles s ,
"a u toma ti c " a u di en c e rea c -
ti on s di ffer from
c ou n try
to
c ou n try,
from
even i n g
to
even i n g.
B AM a u di en c es i n
1985
s a t
perplexed
a n d u n moved
th rou gh
a n
epi s ode
i n
Kon ti h kth of
i n wh i c h th e da n c ers s ea ted th ems elves wi th th ei r ba c ks to
th e a u di en c e to wa tc h a Germa n
doc u men ta ry
fi lm on th e
breedi n g
be-
h a vi or of s ma ll wa ter a n i ma ls . Th e
joke
wa s los t on th e Ameri c a n a u di -
en c e. Si mi la r
problems
a ri s e wh en a u di en c es c a n 't feel
a n y
of th e c on n ota -
ti on s of th e Germa n love
s on gs
of th e
'Sos
or i n th e s en ti men ta l
ta n go
th a t th e Germa n mi ddle c la s s da n c ed to
du ri n g
i ts
pos t-World
Wa r
II
rec on s tru c ti on .
In th e works of B a u s c h a n d oth er
pos t-wa r
Germa n
c h oreogra ph ers
s u c h a s Mec h th i ld Gros s ma n n 's
Wh ere
My
Su n Sh i n es For Me
(1984),
th e
pa rody
of
c on ven ti on s ,
a n d th e tru th of
pa rody,
a re
a lwa ys
li n ked wi th a
s en s e of
pers on a lly experi en c ed h i s tory. Repres s ed memory
of c h i ldh ood
tra u ma s c a n be retri eved i f
on ly
on e li s ten s
c a refu lly en ou gh
to th e
repeti -
ti on s of th e s oc i a li zed
body.
"We mu s t look
a ga i n
a n d
a ga i n ,"
B a u s c h
on c e s a i d i n defen s e of h er exc es s i ve
repeti ti on s ,
"a n d
ma ybe
th e s a ddes t
th i n g
a bou t ou r obs es s i on s i s th a t
th ey
often look s o c h eerfu l." I c ou n ted
perh a ps 40
or
50
di fferen t c h i ldh ood
ga mes
i n
1980
a n d Ari en
(1979).
Wh en th e
Wu pperta l
da n c ers rec a ll th e
you th fu l joy
wi th wh i c h
th ey
u s ed
to dri ve
a wa y
th e fea r bu i lt i n to a ll c h i ldren 's
ga mes ,
th e h i de-a n d-s eek
exerc i s es
a lwa ys
look
a mbi gu ou s ly
s a d a n d c h eerfu l a t th e s a me ti me.
B a u s c h 's
dra ma tu rgi c a l
meth od bec omes more a c c es s i ble over
ti me;
th es e
a du lt remembra n c es of
th i n gs pa s t
a re ma de to evolve
s lowly
a n d u n ob-
tru s i vely. Th ey
ta ke
ti me,
a n d s ometi mes we c a n n ot s ee th em a ll a t on c e
bec a u s e
th ey
ru n
pa ra llel, c ommen ti n g
on a n d
overla ppi n g
wi th ea c h oth -
er. Someti mes
th ey
retu rn i n a di fferen t c on text a n d a s s u me a di fferen t
emoti on a l
qu a li ty,
li ke th e
ma n y
s tori es th a t
emerge
a n d
di s a ppea r a ga i n ,
a c c en tu a ti n g
th e
s u bjec ti ve rea li ty
of
experi en c es
th a t a re both
plea s u ra ble
a n d
pa i n fu l.
Si lvi a
Kes s elh ei m,
i n
198o, repea tedly
tells u s
h ow,
a s a c h i ld left a lon e
i n th e
da rk,
s h e wou ld
c ry
ou t,
a n d h ow h er
n a n n y
wou ld c ome i n a n d
"tu rn on th e
li gh t-a n d
s h e wou ld h i t
me,
s h e wou ld h i t
me,
s h e wou ld
h i t me." After we h a ve h ea rd th e
s tory
fi ve
ti mes ,
i t bec omes
poi gn a n tly
c lea r th a t th e
plea s u re
of
pa i n
c a n bec ome a lmos t
mec h a n i c a l,
a u toma ti c .
We mu s t li s ten
a ga i n
a n d
a ga i n .
Even wi th th e
overtly
bru ta l trea tmen t of th e th eme i n B lu ebea rd-a
pi ec e
a bou t a n obs es s i ve ma le s a di s t wh o ki lls th e women h e loves -I a m
tempted
to
emph a s i ze
th e
redempti ve
effec t of
repeti ti on .
Wh i le "B lu e-
bea rd" i s
c a u gh t u p
wi th h i s
ma c h i n e,
"li s ten i n g
to a
ta pe rec ordi n g"
of
h i s mu rderou s des i re
(th e voi c es th a t
s i n g
a bou t love a n d dea th i n
B 6la
B a rt6k's
opera ),
th e women da n c ers
ga th er
th ei r
s tren gth
wi th th ei r ba c ks
to th e wa lls , la u gh i n g
a t th e mon s ter i n th ei r mi ds t. Si n c e mos t Ameri c a n
a u di en c es were
ou tra ged by
th e vi olen c e
portra yed
i n th e
performa n c e,
on e
mi gh t
a s k
wh y th ey res pon ded
to th e vi olen c e a n d n ot to th e
s h a rply
foc u s s ed
proc es s
of
rec ogn i ti on
th a t lea ds from th e
pa th os
of s elf-a b-
s orbed s exu a l obs es s i on to th e mu c h
la rger pa ttern s
of mec h a n i c a l eva s i on
th a t a
gu i lt-ri dden s oc i ety
res orts to wh en i t
prefers
to
den y
th e c on s e-
qu en c es
of i ts
c on ti n u i n g a ggres s i on .
In h er ea rli er
pi ec es ,
B a u s c h s eemed les s i n teres ted i n th e
grotes qu e
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92
P i n a B a u s c h
a s pec ts
of ma le vi olen c e. In h er
c h oreogra ph i c
trea tmen t of
Stra vi n s ky's
Ri te
of Spri n g,
th e ri tu a l da n c e wa s
c on s ta n tly repea ted-to
th e
poi n t
of
tota l exh a u s ti on -a s a c en tra l
meta ph or
for th e well-reh ea rs ed beh a vi or of
men
followi n g
th e ru les of
s oc i ety
a n d
s elec ti n g
women a s s a c ri fi c i a l vi c -
ti ms ,
even a s th e women th ems elves en vi s i on a n d
a n ti c i pa te
th e s elec ti on .
In
Ari en ,
th e
s ta ge
i s n ot c overed wi th brown
ea rth ,
a s i n Ri te
of Spri n g,
bu t wi th
a n kle-deep
wa ter. It i s s u rrou n ded
by reflec ti n g
mi rrors th a t
c rea te a n a lmos t s u rrea l c ombi n a ti on of s u rfa c es . Th e ton e h a s
c h a n ged,
too. In a s eri es of
pa rodi c i ma ges
of n a rc i s s i s ti c
s elf-rega rd,
Ari en es ta b-
li s h es a
mela n c h oly
mood th a t s eems
provoked by
th e i n di vi du a l's c on -
s ta n t effort to ma i n ta i n a s en s e of
s elf-expres s on
a n d
s elf-c ompreh en s i on
i n th e fa c e of th e mec h a n i c a l vi olen c e th a t s o often domi n a tes th e
a ppea r-
a n c es ,
i f n ot i n th e
th ea ter,
th en
c erta i n ly
i n ou r li ves .
In B a u s c h 's rec en t th ea ter
pi ec es ,
s u c h efforts a re often c omi c bec a u s e
th ey li tera lly c a rry
ou t th e bea u ti fu l
meta ph ors
of ou r
opera s
a n d c la s s i c a l
ba llets . In
Ari en ,
fa i ryta le qu een s
a n d di va s wh o a re
grotes qu ely
dec ora ted
a n d dres s ed
u p by
th ei r
pa rtn ers plu n ge
i n to movemen t
ph ra s es
a n d word
li ta n i es .
Th ey
look a n d s ou n d n on s en s i c a l i n
c ompa ri s on
wi th th e old
Ita li a n belc a n to a ri a s
(rec ordi n gs by
B en i a mi n o
Gi gli )
a n d B eeth oven 's
Moon li gh t
Son a ta . It i s th e mu s i c th a t ma kes n o s en s e or th e words a n d
movemen ts ? We c a n n ot be
s u re;
c erta i n ty
s eems los t a s th e da n c ers s h ow
u s h ow
forms ,
or forma l
a tmos ph eres ,
c a n c ome
togeth er momen ta ri ly,
on ly
to
di s i n tegra te.
Th e n a ked
rea li ty
of th e
performers '
bodi es i n Ari en
begi n s
to s h i n e
th rou gh
th e wet c os tu mes a s
th ey
s los h
th rou gh
th e
wa ter,
tu mbli n g
for-
wa rd wi th th e
des pera te
determi n a ti on to a c t ou t n orma l rou ti n es u n der
a bn orma l c i rc u ms ta n c es .
Th ey
do s o wi th
h i gh opera ti c pa th os , worth y
of
Wa gn er's Gotterddmmeru n g,
a s wh en Lu tz
F6rs ter
s olemn ly
c a rri es th e
li feles s B ea tri c e Li bon a ti a c ros s th e
pool,
th ei r
li ps glu ed
i n a ki s s . B u t
th a t
pa th os
i s a dea d
la n gu a ge,
li ke th e rei fi ed medi a
gos s i p
th a t th e da n c -
ers s h ou t a t ea c h oth er a n d a t th e a u di en c e. Wh en a
h u ge h i ppopota mu s
ri s es ou t of th e
wa ter,
n obody
s eems to n oti c e th e
i n c on gru i ty.
B a u s c h 's
ta n zth ea ter li ves
th rou gh
s u c h
i n c on gru i ti es ;
th e
s ta ge
i s a wa s h wi th c on -
s u mer
objec ts
th a t s eem ou t of
pla c e
or
u s eles s ,
bu t th e a c tors
c li n g
to
th em for dea r li fe. How li fe i s deformed
by
s u c h
c li n gi n g
i s s h own
du ri n g
th e
gra n d
di n n er
pa rty
i n
Ari en ,
s u rely
th e mos t c h a oti c s c en e ever
s ta ged
on th e B AM
Opera
Hou s e
s ta ge.
Th e
s olemn ly di s i n tegra ti n g pa rty
drown s i n a n
a ll-ou t,
deli bera tely s elf-i n du lgen t s c h i zoph ren i a
th a t i s
fri gh ten i n g-i f
we c a re to s ee ou r c u ltu re reflec ted i n i t.
Ari en h a s
ma n y
s u c h da rk u n derton es th a t u n derc u t ou r
la u gh ter. Ja n
Mi n a ri k's a n ti c s a s th e
pa rty ph otogra ph er
or
Jos eph i n e
An n En di c ott's
Ti ta n i a -li ke love a ffa i r wi th th e
s a d-looki n g h i ppo
offer c omi c reli ef th a t
i s
c ou pled
wi th a s en s e of
da n ger.
It i s a s i f we were
ta ki n g pi c tu res
of a
s oc i ety
doomed to drown i ts
c a ta s troph i c
des i res i n a c on ti n u ou s ma s -
qu era de
of
opti mi s m,
a n
on -goi n g pa rty.
"Wh a t do
you
th i n k of
a ri a s ?,"
on e of th e da n c ers a s ks a s s h e
pu ts
th i c k
ma ke-u p
on h er fa c e. "I a s s oc i a te
th em wi th blood-red
fi n gern a i ls
a n d tortu re," i s on e of th e a n s wers .
It i s
poi n tles s
to a s k P i n a B a u s c h wh a t h er
pi ec es
a re a bou t. "It i s n ever
s ometh i n g you
c a n des c ri be
exa c tly,"
s h e told me.
"B a s i c a lly
on e wa n ts
to
s a y s ometh i n g
wh i c h c a n n ot be s a i d, s o we ma ke a
poem
wh ere on e
c a n feel wh a t i s mea n t. You s ee i t, a n d
you
kn ow i t wi th ou t
bei n g
a ble to
formu la te
i t."
Th e Ea s t Germa n
pla ywri gh t
Hei n er
Mi ller
on c e s a i d th a t
i n B a u s c h 's th ea ter "th e
i ma ge
i s a th orn i n ou r
eye" (I982:Io3).
Her
works a re too
u n c ompromi s i n g
to let th ems elves be
ea s i ly domes ti c a ted,
a n d th ere a re
perh a ps
n o a n s wers to th e
rea li ty
of
experi en c e depi c ted
i n
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li t
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i i ,
th em. If
a n yth i n g,
th e
Wu pperta l
da n c ers s h ow u s wh a t i t mea n s to
keep
qu es ti on i n g beyon d
th e
poi n t
wh ere
repeti ti on s a ppea r merely exh a u s ti n g
a n d
dea dly,
or
perh a ps ju s t
n orma l.
It i s a ls o
pos s i ble,
of
c ou rs e,
th a t B a u s c h 's
c on ti n u i n g performa n c es
of
h u ma n
s elf-degra da ti on
a n d
s elf-oppres s i on
wi ll rea c h a
poi n t
of n o re-
tu rn ,
wh ere th e ten dern es s a n d th e
h ope
for love a re n o
lon ger rec ogn i z-
a ble. B a u s c h 's n ewes t
pi ec e,
On th e Mou n ta i n a
Cry
Wa s
Hea rd,
provoked
deep
di s tres s
a mon g
B AM
a u di en c es ,
s i n c e even th os e wh o a dmi re h er
work felt n u mbed
by
th e
blea k,
des tru c ti ve
i ma ges
of th e
grou p
s c en es .
Th e
pi ec e
refers u s ba c k to th e
men a c i n g a tmos ph ere
of Ri te
of Spri n g,
wh os e
s ta ge
i s a ls o c overed
by
a
deep la yer
of
ea rth ;
th e da n c ers s eem los t
i n th i s va s t a n d
empty la n ds c a pe.
Th ere a re
qu i et
momen ts wh en i n di vi d-
u a ls or
c ou ples c ry
ou t for
h elp
a n d a ffec ti on a n d wh en th ei r
vu ln era bi li ty
bec omes a
pos i ti ve
forc e. B u t th es e momen ts of
lon gi n g
a re over-
wh elmed
by
u n c on di ti on a l vi olen c e. In on e
s c en e,
repea ted
s evera l ti mes
to th e
bla ri n g
s ou n d of th e
tri u mph a l
ma rc h from Men dels s oh n 's
Ath a li e,
two
grou ps
of men c h a s e Helen a P i kon a n d Fra n c i s Vi et a c ros s th e da rk
s ta ge, c a ptu re
th em,
a n d
bru ta lly
forc e th em to ki s s ea c h oth er. Un dou bt-
edly,
th ere i s
s ometh i n g deeply di s c on c erti n g
a bou t th es e
i ma ges
of fa ta l
en c los u re a n d s oc i a l
pres s u re.
Th e
u n lovi n g c ou ple,
forc ed to love ea c h
oth er,
c a n n ot
es c a pe.
B u t
th ey
c on ti n u e to
s tru ggle
a n d to res i s t.
I a m i n teres ted i n th e
a s tou n di n g
i ron i es of th i s
i ma ge,
n ot
on ly
be-
c a u s e
th ey
revea l a n
i mpli c i t
a ltern a ti ve to th e ra di c a l h i s tori c a l
pes s i mi s m
a n d th e
c olla ps e
of i n di vi du a li s m
depi c ted
i n Hei n er
Mfi ller's
pla ys
bu t
a ls o bec a u s e
th ey
mu s t be s een wi th th e Germa n
s en s i ti vi ty
towa rd h i s -
tori c a l determi n a ti on s i n mi n d. If s ome Ameri c a n c ri ti c s
prefer
to mi s s
th e i ron i es a n d fi n d th ems elves
a ppa lled
a t th e vi s i on of
pa i n fu lly
di s tort-
ed bodi es a n d vi c ti mi zed
i n di vi du a ls ,
i t
ma y
be th a t th e
gen era l opti mi s m
(th e
"offi c i a l"
i ma ge)
i n th i s
body-bu i ldi n g
a n d a erobi c s c u ltu re h a s
7.
Ari en
(1979):
Th e
"h i ppopota mu s "
wa tc h es on
a s Lu tz Fors ter c a rri es th e
li feles s
B ea tri c e Li bon a ti
a c ros s th e wa ters .
(P h oto by
Ulli
Wei s s )
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94
P i n a B a u s c h
loc ked
u p a n y perc epti on
of
i ron y
i n a
h ei gh ten ed
s ta te of
repres s i on
th a t
feeds a mi n dles s c on s u meri s m a n d a n a u toma ti c drea m of en dles s s u rvi v-
a l.
Ima ges
of
pa i n
or fea r of dea th di s tu rb th e Ameri c a n
la n ds c a pe; th ey
don 't a c c ommoda te th e rh etori c of
bea u ty, power,
a n d
s peed
i n a tec h n o-
logi c a l Di s n eyla n d. Ima ges
of vi olen c e a re
a c c epta ble
i n fi lms a n d
MTV,
wh ere
th ey
c a n be ma de to look bea u ti fu l. As for th e da n c e:
wh y
s h ou ld
a n yon e
wa n t to s ee di s torted a n d vi c ti mi zed bodi es th a t don 't even da n c e
mos t of th e ti me?
Alth ou gh
i t
ma y
n ot h a ve been
c on s c i ou s ly pla n n ed,
th e Fa ll
1985 pro-
gra m
of th e B AM Next Wa ve fes ti va l tu rn ed ou t to be th e s i te of a voc i f-
erou s en c ou n ter between
propon en ts
of Germa n ta n zth ea ter a n d Ameri -
c a n
pos tmodern
da n c e. B oth tra di ti on s s h a re c ommon roots bu t h a ve
gon e
i n di fferen t di rec ti on s .
Ha lfwa y th rou gh
th e fes ti va l i t wa s
a lrea dy
c lea r th a t New York a u di en c es h a d th e
u n i qu e
c h a n c e to s ee th e
lea di n g
c h oreogra ph ers
of th e c u rren t Germa n ta n zth ea ter movemen t
(B a u s c h ,
Rei n h i ld
Hoffma n n ,
Su s a n n e
Li n ke)
s i de
by
s i de wi th s ome
pos t-Cu n -
n i n gh a m
Ameri c a n
c h oreogra ph ers (La u ra Dea n ,
Ni n a
Wi en er,
Ma rga ret
Jen ki n s ).
Cu n n i n gh a m's
i n flu en c e
h a s been s o
s tron g
i n th e Un i ted Sta tes th a t
toda y's pos tmodern
da n c e c a n
on ly
be u n ders tood i n rela ti on to h i s
pro-
gra mma ti c rejec ti on
of
Gra h a m-s tyle
modern da n c e wi th i ts
emph a s i s
on
emoti on ,
th ea tri c a l dec or a n d
c os tu mes , c h a ra c ter,
dra ma ti c
ph ra s i n g,
a n d
n a rra ti ve. Even th os e fa mi li a r wi th
c on tempora ry
da n c e mu s t h a ve been
s tru c k, h owever,
by
th e a mou n t of fru s tra ted
a n ger
ven ted
u pon
ta n zth e-
a ter. At a
s ympos i u m c o-s pon s ored by
B AM a n d Goeth e Hou s e New
York on 8 November
1985, di rec tly
a fter th e
open i n g n i gh ts
of Hoff-
8. On Th e Mou n ta i n A
Cry
Wa s Hea rd
(1984):
Th e
h ys teri a of s elf-
oppres s i on
a n d
c ompu ls i ve
a ggres s i on
i s s h own a s th e
da rk u n ders i de
of
h u ma n
exi s ten c e.
(P h oto by
Ari c i &
Smi th )
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P i n a B a u s c h 95
I~
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ma n n 's Ca lla s
(1983)
a n d Wi en er's In Clos ed Ti me
(1985),
s ome c ri ti c s
objec ted
to wh a t
th ey
felt wa s th e
s elf-i n du lgen c e
of B a u s c h 's
lon g
a n d
repeti ti ve performa n c es
a n d h er
wa llowi n g
i n
pa i n
a n d
a n gs t. (See pp.
46-56
for a n edi ted
tra n s c ri pt
of th e
s ympos i u m.)
Hoffma n n a n d Wi en er were
pres en t
a t th i s i n terc u ltu ra l
even t,
a n d both
looked exh a u s ted a fter h ou rs of h ea ted di s c u s s i on a bou t th e
res pec ti ve
meri ts of th e
forma l,
movemen t-ori en ted c on c ern s of Ameri c a n
pos tmod-
ern
da n c e a n d th e c on c rete emoti on a l a n d s oc i a l c on ten t
expres s ed
i n th e
Germa n works . Th e
problem
of c u ltu ra l
perc epti on s
of th e
rela ti on s h i p
between form a n d c on ten t rema i n ed a
s tu mbli n g
bloc k,
bu t th e
s ympo-
s i u m ma de i t c lea r th a t ou r c ommon
voc a bu la ry ("movemen t,"
"n a rra -
ti ve," "moti on ," etc .)
n eeds to be more
c a refu lly
defi n ed wi th
rega rd
to
th e
s pec i fi c
a es th eti c ,
i n c lu di n g
i ts
poli ti c a l
di men s i on ,
th a t ma kes th e
a ppa ren t
vi olen c e i n B a u s c h 's works s o
objec ti on a ble
to s o
ma n y people
i n th e Un i ted Sta tes .
At th e s a me
ti me,
s u c h a c la s h of
perc epti on s ma y
a ls o
h elp
redi rec t
a tten ti on to th e
ea s i ly forgotten
roots of
ea rly
modern da n c e s h a red
by
both tra di ti on s a n d medi a ted
by
th e
h i gh ly
i n flu en ti a l work of Ameri c a n
da n c ers s u c h a s Is a dora Du n c a n i n
Germa n y
a n d la ter on
by
th e
tea c h i n g
of Ru dolf von La ba n a n d Ku rt
Joos s .
Th e
pu pi ls
of
Joos s 's Folkwa n g
Sc h ool,
i n c lu di n g
B a u s c h , Hoffma n n ,
a n d
Li n ke,
a re c en tra l to th e revi -
ta li za ti on of
expres s i on i s t
da n c e.
Seei n g
th e B AM
premi eres
of Wi en er's In Clos ed Ti me or La u ra Dea n 's
Sky Li gh t (1982), Tra n s former (1985),
a n d
Impa c t (1985),
on e s ti ll n oti c es
9.
Ca lla s
(1983):
Rei n h i ld
Hoffi n a n n 's
B remen
Ta n zth ea ter looks i n to th e
reflec ti n g
mi rrors
offa s h i on s
a n d a rti s ti c c a reers .
(P h oto
by
Kla u s
LeFebvre)
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96
P i n a B a u s c h
th e fu n da men ta l di fferen c e between s ome Ameri c a n
th i n ki n g
a bou t th e
va li di ty
a n d
bea u ty
of movemen t
qu a li ti es
or
rh yth mi c
forms a n d th es e
Germa n
c h oreogra ph ers '
deli bera te i n s i s ten c e on
qu es ti on i n g
th e c on di -
ti on s of s oc i a l
performa n c e
th ems elves -th os e
gen der-i den ti fi ed
roles a n d
beh a vi ors th a t determi n e ou r
rela ti on s h i p
to ea c h oth er a n d to ou r c u ltu re
a t
la rge.
Th os e roles a n d
beh a vi ors ,
s o n a tu ra l i n th e Un i ted
Sta tes ,
a re n ot a l-
wa ys
bea u ti fu l. Hoffma n n 's
Ca lla s ,
n ot u n li ke B a u s c h 's
Kon ta kth of
a n d
Ari en ,
dra ma ti zes va ri ou s
i ma ges
of
pros ti tu ti on , s elf-oppres s i on , a n xi ety,
a n d s elf-h u mi li a ti on th a t s ta n d a s rea li s ti c
c ou n terpa rts
to th e
popu la r
myth s
of
bea u ty, h a ppi n es s ,
a n d s u c c es s . Th e
rea li ty
of th e
fa n ta s i es ,
rep-
res en ted
by da i ly
rou ti n es a n d
ever-repea ted
efforts to
i mpres s
oth ers ,
i s
expos ed
a s a
c on s tri c ti n g
n etwork of i n tern a li zed s oc i a l c on ven ti on s . In
on e
s c en e,
th e da n c ers
pa ra de
i n fron t of
h u ge
mi rrors ,
a n d before
lon g,
th e mi rrors a re ti ed to th ei r
ba c ks ,
a n d we s ee th em
c a rryi n g
th e bu rden
of th ei r
s elf-i ma ges .
Li kewi s e,
B a u s c h 's
repeti ti ve
ma s oc h i s ti c ri tu a ls a n d th e
s tru ggle
for
love a n d
rec ogn i ti on
th a t h er ma le a n d fema le da n c ers perform on ea c h
oth er wi th
a ggres s i ve
a ffec ti on c a n
on ly
be c on s i dered offen s i ve
to
th e
eye
i f on e
c ompletely
mi s u n ders ta n ds th e
i mpli ed
s oc i a l
c ri ti qu e.
In order
to s ee a rt a s a form of c u ltu ra l i n terven ti on , on e mu s t remember th e
s pec i fi c
Germa n th ea ter, opera ,
a n d ba llet tra di ti on wh os e c la s s i c s h a ve
a lwa ys
domi n a ted th e
repertori es
of th e s ta te-s u bs i di zed th ea ters . It i s th i s
c u ltu ra l
repertory,
wi th i ts
s oc i a l/poli ti c a l i mpli c a ti on s ,
th a t th e women
c h oreogra ph ers -th e
tru e h ei rs of B rec h t's
epi c
th ea ter-rebelled a ga i n s t
wi th th e fu ll
ra ge
of a
gen era ti on
of
da u gh ters
th a t wi tn es s ed th e s u c c es s -
fu l rec on s tru c ti on of th e old
pa tri a rc h a l regi me, s h ortly
a fter th e h orrors
of fa s c i s m h a d a ri s en from Wes tern c i vi li za ti on .
In vi ew of th i s
experi en c e
on e c a n
perh a ps
better u n ders ta n d th e a dmi t-
tedly pa i n fu l i ma ge
i n On th e Mou n ta i n a
Cry
Wa s Hea rd of a woma n
da n c er
kn eeli n g
down , repea tedly
a n d
pa ti en tly,
to rec ei ve th e
pu n i s h i n g
blows of h er ma le
oppres s or. Ja n
Mi n a ri k's
men a c i n g fi gu re
s ta n ds i n for
th e
ma n y
fa th ers a n d lovers wh o a re li ke c h i ldren
pla yi n g
wi th
wea pon s
i n order to lea rn th e
c ompeti ti ve
ru les of th e
ga me.
In th i s s en s e on e c a n rea d th e
epi s odi c
da n c e
s equ en c es
i n Ca lla s th a t
repres en t
th e va ri ou s
s ta ges
of a c a reer-h ere embodi ed i n th e
fi gu re
of
th e fa mou s
opera s i n ger. Th rou gh
i t on e
ma y
lea rn th e belc a n to of s ta r-
dom a n d s u c c es s ,
bu t
on ly
a t th e
grea t pers on a l
c os t of
los i n g
a ll
di gn i ty.
Th e li mi ted
ra n ge
of
"movemen t"
i n ta n zth ea ter i s
perh a ps
a n
a pt expres -
s i on of i ts a n ti -a es th eti c s ta n c e. Wh en B a u s c h
expla i n s
th a t s h e i s "n ot s o
mu c h i n teres ted i n h ow
people
move bu t i n wh a t moves
th em,"
s h e i s
a ls o
a ddres s i n g
c la s s i c a l
ba llet,
wh i c h
di s gu i s es
i ts
repres s i ven es s
wi th
bea u ti fu l a c roba ti c s a n d
s tu n n i n g s pec ta c les .
Ameri c a n
pos tmodern
da n c e i s n ot
perc ei ved
to be
s tru ggli n g a ga i n s t
a n
overbea ri n g s ys tem
of well-s u bs i di zed ba llet a n d
repertory th ea ter, a s
i s th e c a s e i n
Germa n y,
wh ere th e
ma jori ty
of th e s ta te th ea ters h ou s e
ba llet
c ompa n i es .
Th ere a re
on ly
a bou t
Io
ta n zth ea ter trou pes ;
h a lf of
th em a re u n a ffi li a ted, s o-c a lled "free
grou ps ."
Th e tra di ti on s of modern
ba llet a n d modern da n c e i n th e Un i ted Sta tes evolved
i n depen den tly
from
ea c h oth er, a n d th e
ema n c i pa ti on
of
"pu re
da n c e" wa s a c h i eved wh en
Cu n n i n gh a m's gen era ti on
freed i ts elf, n ot from th e c on s tra i n ts of
a n y
govern men t-s u bs i di zed
s tru c tu re, bu t from th e
h ea vy
emoti on a l dra ma of
a n older
c h oreogra ph y.
Ta n zth ea ter c ri ti c s , of c ou rs e, wou ld c on s i der th e term
"ema n c i pa ti on "
pa ra doxi c a l
i n a n Ameri c a n c on text (c f.
Sc h mi dt 1984:22).
For th em, th e
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P i n a B a u s c h
97
a c roba ti c ,
mu lti -medi a
pos tmodern i s m
of B i ll T.
Jon es
a n d Arn i e Za n e's
Freedom
of In forma ti on (1984)
or Sec ret P a s tu res
(1984),
for
exa mple,
c a n
on ly
i n di c a te a
regres s i on
i n to s edu c ti ve
s pec ta c les
a n d
"s u perfi c i a l
a ttra c -
ti on s "
(Servos 1984:24).
Su c h B rec h ti a n c ri ti c i s ms mi s s th e
poi n t,
h owev-
er,
bec a u s e
th ey
do n ot
gra s p
th e di fferen t
wa ys
i n wh i c h Ameri c a n rea li -
ty
i s
repres en ted
a n d
repres en ta ble.
At th e s a me
ti me,
I do n ot dou bt th a t th e freedom of i n forma ti on i n
pos tmodern
da n c e i s
yet
a n oth er
i llu s ory
freedom. After
a ll,
th ere i s
s ometh i n g very pu zzli n g
a bou t th e
s elf-referen ti a li ty
of Ameri c a n a bs tra c t
da n c e,
n a mely
th e
a ppa ren tly u n pertu rbed
s elf-c on fi den c e wi th wh i c h i t
pu rs u es
"s olu ti on s to i ts forma l
problems " (Wi en er 1985)
wi th ou t ever
a c kn owledgi n g
th e c on tra di c ti on s th a t li e i n th e
a s s u mpti on
th a t da n c e i s
n ot a s oc i a l
pra c ti c e
bu t a n a rt too bea u ti fu l a n d s elf-c on ta i n ed to
en ga ge,
for
exa mple,
th e i s s u es of vi olen c e a n d
repres s i on .
Th e
pu re en ergy
of th e relen tles s
s pi n n i n g
i n La u ra Dea n 's
Sky Li gh t,
or th e
s pa ti a l ju xta pos i ti on s
of Wi en er's da n c ers
a ga i n s t
th e
h u ge pla s ti c
"bu i ldi n gs "
i n In Clos ed Ti me
(des i gn ed
for th e B AM
s ta ge by
Mi a mi 's
lea di n g
c ommerc i a l a rc h i tec tu re
fi rm,
Arqu i tec ton i c a )
c ou ld be
i n terpret-
ed a s reflec ti on s on th e
deh u ma n i zi n g s peed
a n d u rba n
den s i ty
of Ameri -
c a n li fe h ere a n d
n ow,
were i t n ot th a t th e
s pi n n i n g,
or th e mu s c le
flexi n g
i n fron t of
geometri c a lly s h a ped des i gn
elemen ts ,
a ppea r h opeles s ly
a rbi -
tra ry, equ i voc a l,
a n d u n c on s c i ou s of i ts a rti c u la ted s oc i a l c on ten t. Th e
refu s a l to dea l wi th th i s c on ten t
depri ves
th es e works of
a n y emoti on a lly
a n d
i n tellec tu a lly s i gn i fi c a n t mea n i n g,
a n d th i s i s a li mi ta ti on th a t a u di -
en c es
ma y begi n
to rea li ze on c e
th ey
h a ve
s topped worryi n g
a bou t th e
u n -Ameri c a n
a n gs t
i n P i n a B a u s c h 's ta n zth ea ter works .
Referen c es
Ki s s elgoff,
An n a
1985
"Da n c e th a t Sta rtles a n d
Ch a llen ges
i s
Comi n g
from Abroa d." Th e
New York
Ti mes , 13
Oc tober:
HI, 14.
Li c h ten s tei n , Ha rvey
1985
In trodu c ti on .
1985
Next Wa ve Fes ti va l
Ca ta log.
New York:
B rooklyn
Ac a demy
of Mu s i c .
Mi i ller,
Hei n er
1982
"B lu t i s t i m
Sc h u h ,
oder Da s Rdi ts el der
Frei h ei t."
Rotwels c h . B erli n :
Merve
Verla g.
Sc h mi dt,
Joc h en
1984 "Erfa h ren ,
wa s Men s c h en
bewegt:
P i n a B a u s c h u n d da s n eu e
Ta n zth ea ter."
Ta n zlegen den .
Ulri ke Ha n ra th s a n d Herbert Wi n kels ,
eds . Fra n kfu rt: ten de.
Servos ,
Norbert a n d
Wei gelt,
Gert
1984
P i n a B a u s c h
Wu pperta l
Da n c e Th ea ter or Th e Art
of Tra i n i n g
a
Goldfi s h .
Cologn e: B a llet-B i i h n en -Verla g.
Wi en er,
Ni n a
1985
"Germa n a n d Ameri c a n Modern Da n c e:
Yes terda y
a n d
Toda y"
s ympos i u m.
Goeth e Hou s e New
York,
8 November.
Joh a n n es B i rri n ger,
a
fou n di n g
member
of
th e
P A]
In s ti tu te
for
Th ea tre
Cu l-
tu re,
i s i n res i den c e a t th e Sc h ool
of
Arts a n d Hu ma n i ti es a t th e
Un i vers i ty of
Texa s -Da lla s . Hi s n ew book wi ll be
Th ea tre,
Th eory,
P os tmodern i s m.
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