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i love Stravinsky so much but i dont understand what is this fuckin sekta-bitches..pffffff

Dino3070 2 weeks ago

@Dino3070 I'm not an expert concerning either Stravinsky's or Pina Bausch's work, so this is really just my opinion. Still, consider this: The usual thing I know Ballet producers go for when performing the Rite of Spring and in particular this part is that weird lots-of-wiggly-dancers-in-slick-bodysuits-wiggle-like-cells-that-are-about-to-multiply. All of the dancers do pretty much the same. And in the end - surprise, surprise - you have one more cell of some sorts.

dgriite 1 week ago

IMO, Pina Bausch excellently manages to portray the essence of the Rite of Spring - it is about a girl that is being offered to the Gods because her people have decided so. She sacrifices herself through dancing. The existence of Gods in this particular play doesn't even matter, because what the thing that makes her sacrifice herself are the people ogling and pushing her, and all of them being glad that she is the one who has to do the dirty job, not them.

dgriite 1 week ago

Performatively, she also fullfills the crowd's want for a scapegoat AND stills its lust for sensation. If you find this distateful, well...we humans don't always behave very nicely. How else would you explain wars, mobbing phenomena, peer pressure etc? (And sorry for any typos too, btw)

dgriite 1 week ago

@dgriite Whilst you are correct in some sense and the pieces brilliance lies much in the open field to interpetation, I think one might see this piece as well as Pinas work in general, in a slightly less literal way than you describe. Her work is entirely existential. Mening what's going on, an the characters represented, may also be the condition of ahuman being on an existetial level. Internally. Of course, there's no clear boundary, as people are social and interdepandant beings.

Gnarbel 3 days ago

@Gnarbel The original piece is of course the depiction of an exotic sacrificial rite, in which both a man and woman are "the chosen", to a hethen deity, perhaps to insure fertillity, abundance and good crops etc. And other choreograpers have done thier take on the subject, like Bejart, who has fun with lust and the sexual awakenings. But Pina didn't go for the sexual play between man and woman here, she had only one "chosen" one. Thats a very important step away from the external.

Gnarbel 3 days ago

@Gnarbel For an artist or a dancer, one might also perhaps interpret this as a portrayal of artistry: having this compulsive drive, to step away from the comforts and acceptance of "normal" society to sacrifice onesself for the art, even if it kills you, to dance onesself to death if you will, the deity then being artistry itself...

Gnarbel 3 days ago

@Gnarbel Anyway, that too is only one possible aspect of this piece. The most important being (in my view) what she is facing, nomatter if it's internal or even visible. The rituals we have to avoid accepting our mortality, the conflict, all the emotions and mechanics of human psychology and this progression that leads her to exhausted acceptance yet fervant blaze in the face of her inveitable demise...I suggest Pina is holding up a mirror to us all. Can we see beyond the surface reflection?

Gnarbel 3 days ago