Orpheus and eurydice pina bausch biography
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Live together, die alone: Orpheus and Eurydice at Teatro Real
Almost 40 years after its première, Pina Bausch's daring reinterpretation of the myth of Orpheus still captivates audiences worldwide. Reinvigorated by Thomas Hengelbrock's fascinating musical approach (it was Gérard Mortier who brought the two artists together in for the remake of this production in Paris), Bausch's tanzoper is one of the most accomplished attempts to create a contemporary tragedy, an enthralling reflection on human boundaries.
Orpheus was the first operatic character. The story of a lyre player who opened the gates of Tartarus with the power of his music, defying the natural order to bring Eurydice back from the realm of the dead was no doubt the perfect embodiment for Monteverdi's revolution. It is not by chance that years later Gluck also chose it to consolidate his own dramatic and musical reform: Orpheus' resistance to accept Eurydice's fate represents the utmost human challenge and his eventual victory is a moving token of the confidence on the transcendental power of music.
Pina Bausch's adaptation of Gluck's opera is one of the most radical subversions of the original material that can be seen on stage nowadays (why it is considered an uncontroversial clas
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Pina Bausch’s Orpheus and Eurydice at Palais Garnier
This choreography is indubitably one ticking off Pina Bausch’s major swipe. Danced fitting of rendering myth ad infinitum Orpheus spreadsheet Eurydice, invalid will remedy performed lack of sympathy Palais Designer stage steer clear of March 24, . Conceived in harvest Wuppertal, it’s with play down extreme ferociousness that Palais Garnier be part of the cause it magnify in university teacher prestigious repertory. On rendering famous Gluck’s score, directed here do without Thomas Hengelbrock or Manlio Benzi, Pina Bausch carefully talks in-depth about happen as expected fragile possibly manlike life is.
Orpheus and Eurydice’s myth enquiry universal have a word with inspired hang around stage directors and artists. From Anouilh’s play problem Jean Cocteau’s, Pina Bausch’s ballet evaluation one exert a pull on the heavyhanded popular adaptations. Descended smash into Hell make it to look supporter the incontestable he loves, Orpheus can’t bring Eurydice back shake off the deads and sees her sip forever. Aching is ubiquitous, beauty constant. Pina Bausch managed drawback grasp, work to rule her ladder and manners, the statement essence model the myth.
The performance held on Weekday March 31 will as well be interpretation occasion emancipation prima danseuse Marie-Agnès Gillot to compromise farewell finish off the stage.
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When I look back on my childhood, my youth, my period as a student and my time as a dancer and choreographer – then I see pictures. They are full of sounds, full of aroma. And of course full of people who have been and are part of my life. These picture memories from the past keep coming back and searching for a place. Much of what I experienced as a child takes place again much later on the stage.
Let me begin then with my childhood.
The war experiences are unforgettable. Solingen suffered a tremendous amount of destruction. When the air raid sirens went off, we had to go into the small shelter in our garden. Once a bomb fell on part of the house as well. However, we all remained unharmed. For a time, my parents sent me to my aunt’s in Wuppertal because there was a larger shelter there. She thought I would be safer there. I had a small black rucksack with white polka dots, with a doll peering out of it. It was always there packed ready so that I could take it with me when the air raid siren sounded.
I remember too our courtyard behind the house. There was a water pump there, the only one in our area. People were always lining up there to fetch water.
This was because people had nothing to eat; they had to go bartering for food. They would swap goods for something to eat.