Today, the person who is pulled out by Sister Tiao and pressed her head is a heavyweight female artist, Pina Bausch.
Who is Pina Baush?
Wikipedia will tell you that she is the founder of the "dance theater", the first lady of modern German dance, and the "number one export culture in Germany, because no one in the world has written a glorious dance history like her." ”
And these definitions, for you and me, may be far less real than the traces she left in Pedro Almodóvar's film "Say It to Her".
In "Say It to Her," two people who don't know each other sit in the theater to watch Pina Bausch's "Mueller Cafe," choreographed and performed, and they can't help but burst into tears.
It's not enough to say that the plot of "Say To Her" is related to "Mueller's Cafe.".
In Almodóvar's own words, the birth of the film "Say It to Her" came from his perception of "Mueller Cafe".
Now, you can probably be vaguely aware of the height of this female artist.
In the field of film alone, in the handful of the world's most outstanding directors, there are many people who have broken their hearts for her.
In addition to The Three European Grand Prix regular Almodóvar, on this list, there are:
Federico Fellini, along with Ingmar Bergman and Andrei Tarkovsky, who has called the "Holy Trinity" of the world's modern art cinema;
Israel's most prominent female director, Shantel Ackerman;
Berlin Film Festival Lifetime Achievement Award Director Wim Wenders...
What did she do?
It is not easy to explain this "speechless philosopher" in words.
In 1973, Pina was 33 years old.
It's been an important year. In that year, Pina became artistic director and chief choreographer of the Upatar Dance Theatre in Germany.
Over the next 35 years, she produced more than forty choreographies for the Upatar Dance Theatre with her squirting creativity. Many of them even lasted more than three hours.
You've got to hear one or two of those —
In 1975's "Festival of Spring", the male and female dancers danced in the dirt and sacrificed women in red dresses to the gods.
This dance drama, written with Stravinsky's symphony of the same name, is recognized as the best version of the Festival of Spring.
1977 "Bluebeard", a dark fairy tale about the violent maniac of killing his wife.
From this one, she changed her way of working and began the famous "Pina-esque" choreography – not showing the dancers movements, but only thinking and asking questions.
"What does happiness look like?"
"How to represent the moon?"
"Why are you crying?"
"What do you crave? Where does this desire come from? ”
Under her tugging, the dancers learned to speak with their bodies and transformed into hieroglyphs on stage.
The essence of the so-called dance theater is actually this-
A play written in hieroglyphs, a work written with the body, a set of elaborate codes.
What the dancers present to the audience is not necessarily "beautiful"; they not only dance, but also sing, talk, wrestle... Some fragmented scenes are collaged together in an almost montage technique to express a complete theme.
The concept, which was proposed in the 1920s and revived in Germany in the 1960s during the "Politician for All", is closely associated with Pina's name.
In 1978, the most prestigious "Mueller Cafe" was born.
Inspired by Pina's childhood. She plays the "sleepwalker", dancing with her eyes closed the whole time, being the first to go on stage and the last to leave.
Someone sees life in it. Someone saw love. Someone saw politics. Someone saw feminism. Almodóvar, saw "Say It to Her."
Everyone, right.
As the only work to be performed on stage since Pina rendezvously choreographed at the Upatar Dance Theatre, Café Müller has been a box office hit since its premiere in 1978.
(In 2007, Pina took "The Rite of Spring" and "Mueller's Cafe" to Beijing to perform in a pompous event that can only be imagined now.) ）
Also in 1978, "The Communicative Field."
In the eyes of ordinary people, dating, dancing and marriage, in Pina's eyes, has become a funny and violent courtship behavior foreplay.
Later, she recruited two groups of ordinary people aged 65+ and 20- in two parts, and spent less than half a year rehearsing for them in her spare time, dedicating "Youth Communication Field" and "Youth Communication Field (Elderly Edition)".
This humorous work, like Pina's other works, mercilessly reveals the essential differences between the genders of men and women, the irreconcilability of birth.
She criticizes the nature of the social field between men and women as a place of trading behavior, but also has the care of "more or less, we all want to be loved".
Pina did not write a book to stand up.
Her philosophy is in her stage works. Outside the theater, only a few words remained.
For example, "Some things can only mean ineffable, language, just wedges." ”
For example, "What I do is about relationships, childhood, the fear of death, and more or less what we all want to be loved." ”
For example, "I dance because I'm sad." ”
This is probably the most quoted phrase in the dance world. If not, it could be this sentence: "I care about why people move, not how they move." ”
And the famous saying, "Dance, dance, or we'll get lost." ”
But in the eyes of those of us who are accustomed to tongue-in-cheek, we may feel that a comment by a dance critic is more sharp and pertinent:
"Pina can fully and appropriately convey as a woman in this patriarchal society, her repression, her depression, her rebellion, her flogging."
Or, try to get some sort of revelation by peeking into her private life.
She had two husbands and one son. Her first husband, Rolf Borzik, stage designer for the company and the man who cleaned chairs for dancers at Café Müller, died in 1980; her second husband, Ronald kay, a university professor of Spanish, cooked and took care of Pina's daily life.
Other than that, we don't know anything.
We would have had a better chance to get to know Pina closer.
In 2009, Pina, who couldn't leave her hands, was diagnosed with lung cancer. On the fifth day after her diagnosis, she died suddenly.
Just before her diagnosis, she also took the stage with her dance troupe. German director Wim Wenders' long-awaited solo documentary "Pina" has just announced the start of filming.
Wenders, who is also one of Pina's fans, has been waiting for a film technique that can properly express Pina's art.
I waited until the 3D concert at U2, and I decided to shoot in 3D with great interest.
Unexpectedly, Pina could not afford to wait any longer.
In the end, Wenders' Pina went from a "documentary" to a "memento film."
Dancers from the Upatar Dance Company appear in place of Pina.
With your own body, carry the spirit of Pina.
The opening dance is "The Rite of Spring".
"Mueller Cafe", "Legend of Chastity", "1980", "Carnation", "Palermo, Palermo", "Window Swab", "Enthusiastic Mazurka", "Social Field", "Full Moon"...
Break and mix.
Wenders gave great sincerity to the film.
He did not interfere with Pina's expression with any interpretation with a private perspective.
He places dancers in nature, on the theater stage, on the side of the road in Upatar, on the city's iconic upside-down railroad tracks...
Pina is a bizarre documentary with almost no Pina, but only Pina.
That's why, despite its many shortcomings, it's still the best window we can get to know Pina.
If you know anything about Pina, it will be a feast.
If you don't know anything, it's actually just right. Just like the encounters between people, they are actually accidents and coincidences. You can try to understand Pina and feel the dance.