Pina Bausch, in 2009, a schimbat o scena cu o alta.
The performers, all aged between 65 and 75, enact mating rituals and sexual frenzy apparently more suited to those less than half their ages. When Pina Bausch revived her seminal 1978 dance piece in 2000 she opted to use a cast of seniors, previously untrained in stage dancing, with stunning, if sometimes uncomfortable results.
… si spunea:
I’m not interested in how people move; I’m interested in what makes them move.
DVD-ul in editia franceza este acompaniat de un volum in patru limbi (engleza, franceza, italiana, germana) cu interviuri, bla-bla etc. Mai multe info si achizitionare, aici.
Quartet for a microphone is a choreographic and sound installation that sets a discourse about confinement, the lack of distance, the relation with the other and about the idea of being hostages of our own existence. Being a real time composition the only reference and support is set on the visible/audible situation that is constant during 60 minutes. Every idea – sort of starting-point keywords – comes into conjunction with the movement of sound, with the glance of the audience and this is how other new and unexpected ideas are born. For Vava Stefanescu, the accidental of the presence conditioned by this specific context, the attention for perception rituals, are constant preoccupations but also fascinations about this “come and go” between fiction and reality:
You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive. It is not for unsteady souls.