If there is one artist who was most frequently mentioned in interviews on Body Pixel, it has been certainly Pina Bausch. Caffe Muller (1978), her most intimate artwork mirrors her experiences in family’s cafe during post-war Germany period, where she spent many hours watching adults struggling to survive in a devastated society and post-war atmosphere.
Pina Bausch was born 1940 in Solingen and died 2009 in Wuppertal. She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. Soon after the director of Wuppertal’s theatres, Arno Wüstenhöfer, engaged her as choreographer, from autumn 1973, she renamed the ensemble the Tanztheater Wuppertal. Under this name, although controversial at the beginning, the company gradually achieved international recognition. Its combination of poetic and everyday elements influenced the international development of dance decisively. Awarded some of the greatest prizes and honours world-wide, Pina Bausch is one of the most significant choreographers of our time. (bio taken from the official site: pina.bausch.de)
Music Henry Purcell
Director and choreographer Pina Bausch
Set and Costume Design Rolf Borzik
Collaboration Marion Cito, Hans Pop
Dramatist: Raimund Hoghe
Dancers: Malou Airaudo, Pina Bausch, Meryl Tankard, Rolf Borzik, Dominique Mercy, Jan Minarik
Cafe Muller, A piece by Pina Bausch, Part 1
Cafe Muller, Part 2
Cafe Muller, Part 3
Cafe Muller, Part 4
Cafe Muller, Part 5
For those who are totally interested on influences and art relations among Pina Baush, Heiner Muller and Bertolt Brecht, here is Vera Stegmann’s study titled ‘Brechtian Traces in Pina Bausch’s Choreographic and Cinematic Work‘ (2010) published by The University of Helsinki and HELDA – The Digital Repository of the same university.