The Fall of Herod Atticus Odeon
I didn’t know who was Pina Bausch, but I knew that on the phone was Theoni, pleased to announce that the time of Herod Atticus Odeon fall was reached: her landscaping company took over the layer of the orchestra of the ancient theater with lawn. I wish her “Also to the Parthenon” and at the same time I was convinced that the inexhaustible, splendid talent of the Greeks in all sorts of swindle found new and promising roads for the wastage of public money. “No, no,” she told me. “This is a dance performance of Pina Bausch”. Pina Bausch, a tragedy is not, a singer is probably not, chocolate is certainly not, a well-known brand of men’s and women’s lingerie is ruled out, what a sponsor of all this is Pina Baus, I asked. “Choreographer” answered me. “Of the most important in modern dance. Of course I also have tickets for the show. Do you want to go?”Before the show of Pina Bausch – Odeon of Herodes Atticus, 2001[/caption]
No I didn’t. On the date of the show, I had more serious things to do: to rumination about the recent social and political developments on the planet, to drink coffee at Exarcheia square, admiring the Blue Condominium of Kyriakos Panagiotakos for countless time, and to break backgammon to his indefinitely lucky head of my friend and competitor Dionysis.
Since then many backgammon games have been played in the groove of time. And a frigid winter night in 2011 or 2012 happened to see a Wim Wenders movie about Pina Bausch in a central Athens cinema. And while I went to once again surrender my admiration to the cinema of the very important German creator, I was speechless. Spectacle? No. Here we are talking about capturing and recording in the film image of a pillar of Western European Culture. Pina Baus. No, I correct: a pillar of the Ecumenical Culture.
Her full name is Philippina Bausch. She was born in Solingen, Germany, on July 27, 1940 – a terrific time for soldiers – by restaurant owners, and it seems that the dancing art of the servant was the one that determined her later choices.Teaching Choreography by Pina Bausch[/caption]
From the atmosphere of World War II, Pina Bausch inevitably inherited the panic and the horror she sometimes experienced in her subsequent choreographies as a spell or as a statement of the universal wrath of man in time of war and peace.
Having her experience of participating in a children’s ballet, she started dancing with the famous expressionist choreographer Kurt Jooss in fourteen years.
She graduated in 1959 with praise and in 1960 Pina Bausch received a scholarship to continue her studies in New York dance at “The Juilliard School”. After first dancing with ‘Paul Sanasardo and Donya Feuer Dance Company’, she will later become a member of the “Metropolitan Opera” ballet.Photographic Portrait of Pina Bausch[/caption]
In 1962, Pina Bausch returns to Germany as a soloist in the newly-formed “Folkwang Ballett”, and she works again with Kurt Jooss, as well as Hans Zülig and Jean Cébron.
Her first work as a choreographer titled ‘Fragmente’ was presented in 1968.
In 1972 she takes on the directorship of the “Wuppertal Opera Ballet”, later named “Wuppertaler Tanztheater” to receive the final name of “Tanztheater Wuppertal Pina Bausch”.
Based in “Opernhaus Wuppertal”, the Pina Bausch “Tanztheater” will give performances all over the world, opening up new streets for the art to which the great artist devoted almost all of his life.
On June 30, 2009, Pina Bausch leaves the dance, her son Rolf-Salomon and the world, in Wuppertal, North Rhine-Westphalia, Germany, at the age of 68.
Lutz Förster – an important dancer, teacher and close associate of Pina Baus to the end – delivers simple lessons of dancing magic.
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