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Bibiliography



About Pina Bausch:

Books on Reserve in Green Library's Lane Reading Room

Abeele, Maarten Vanden. Pina Bausch. Paris: Editions Plume, c1996.

GV1786.T33 V36 1996 f

Collection of black and white photographs by Abeele of performances by the Wuppertal Tanztheater, with an introduction by Federico Fellini and an essay by Akira Asada. Includes a chronological list of Bausch's works.

 

Climenga, Royd. What Moves Them: Pina Bausch and the Aesthetics of Tanztheater. Ph.D. diss., Northwestern University, 1995.

GV1782.5 C55 1995a

Strives to provide an in-depth analysis of the performance work of Pina Bausch and in so doing, arrive at a distinct aesthetic consideration for the field of tanztheater.

 

Erler, Detlef. Pina Bausch. Zurich: Edition Stemmle, c1994.

GV1785. B349 E74 1994 f

Collection of color photographs by Erler of performances of Bausch's works, with introductory essays by Heiner Müller, Raimund Hoghe, Norbert Servos, and Jochen Schmidt.

 

Kaufmann, Ursula. Pina Bausch und das Tanztheater Wuppertal: Nur Du. Wuppertal: Müller+Busmann, 1998.

GV1786.T33 K38 1998 f

Collection of 143 color "dreamscapes" photographed by Kaufmann of performances of Bausch's pieces. Includes a chronological list of her choreographies, with credits.

 

Schmidt, Jochen. "Tanzen gegen die Angst:" Pina Bausch. 2d. ed. Dusseldorf: Econ & Lit Taschenbuch Verlag, 1998.

GV1785.B349 S36 1998

Dance critic Schmidt discusses different stages of Bausch's career, the development of her choreographic style, and several of her pieces.

 

Servos, Norbert. Pina Bausch-Wuppertaler Tanztheater, oder die Kunst, einen Goldfisch zu dressieren. Seelze-Velber, Kallmeyersche Verlagsbuchhandlung, c1996.

GV1786.T33 S47 1996 f

Dance critic Servos provides introductions to, and descriptions of, most of Bausch's pieces, along with photographs by several photographers. Included are an introduction by Jochen Schmidt and the transcriptions of several interviews held with Bausch between 1978-1995. The first edition of this book was published in 1979, and an English version in 1984.

 

Articles on Reserve at Green Library's Lane Reading Room:

Cody, Gabrielle. "Woman, Man, Dog, Tree: Two Decades of Intimate and Monumental Bodies in Pina Bausch's Tanztheater." TDR 42, no. 2 (1998): 115-31.

809.205 T917, vol. 42

Takes an in-depth look at the "vestiges of Bausch's tracks on the landscape of contemporary performance."

 

Felciano, Rita. "Pina Bausch: the Voice from Germany." Dance Magazine 70, no. 10 (1996): 68-71.

GV1580.D246, vol. 70  

Comments on Bausch's approach to dance theater, her willingness to look at human nature in all its hues, her portrayal of violence, her use of repetition, and the humor and tenderness that is often unrecognized.

 

Hoghe, Raimund. "The Theatre of Pina Bausch." Translated by Stephen Tree. TDR 24, no. 1 (1980): 63-74.

809.205 T917, vol. 24

Studies how Bausch approaches and conceives a piece such as Kontakthof, which explores the ways in which tenderness is expressed. Looks at scenes from that piece and Arien to consider what they might suggest or express. Explains that Bausch shuns set interpretations and insists that her works remain open-ended, and feels they can be viewed in more than one way.

 

Langer, Roland. "Compulsion and Restraint, Love and Angst: The Post-war German Expressionism of Pina Bausch." Translated by Richard Sikes. Dance Magazine 58, no. 6 (1984): 46-49.

GV1580.D246, vol. 58

Langer, who has observed Bausch's choreography from its beginning, provides an overview of her work, beginning with Fritz from 1974, her earliest piece for the Wuppertal company, to Waltzes, from 1982.

 

Servos, Norbert. "The Emancipation of Dance: Pina Bausch and the Wuppertal Dance Theatre." Translated by Peter Harris and Pia Kleber. Modern Drama 23, no. 4 (1981): [435]-47.

809.205 M689, vol. 23

Proposes that the real significance of Bausch's work is that she broadened the concept of dance and released choreography from its traditional definition of "connected movements." Dance theater developed into something one could define as 'theater of experience', a theater that made reality, communicated in an aesthetic form, tangible as a physical reality.

 

Sikes, Richard. "A Commentary on the Place of Pina Bausch in Contemporary Dance: 'But is it dance …?'" Dance Magazine 58, no. 6 (1984): 50-53.

GV1580.D246, vol. 58

Sikes addresses the question "Where does Bausch fit in to the world of ballet and modern dance as we know them today?" While he acknowledges that dance is very much a part of Bausch's choreography, he concludes that she has gone beyond the bounds of dance, "taking along what is needed for the trip." He suggests that the future of European dance lies in the hands of others, not Bausch.

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About Tanztheater:

Materials on Reserve in Green Library's Lane Reading Room

 

BOOKS:

Schmidt, Jochen. Tanztheater in Deutschland. Frankfurt am Main: Propyläen Verlag, c1992.

GV1783.S2954 1992 f

Explores dance theater in Germany—what it is, where it came from—and looks at its leading proponents, including Bausch.

 

ARTICLES:

Daly, Ann, ed. "Tanztheater: The Thrill of the Lynch Mob or the Rage of a Woman?" TDR 30, no. 2 (1986): 46-56.

809.205 T917, vol. 30

Edited transcript of part of a symposium, "German and American Dance: Yesterday and Today," held in November 1985, and co-sponsored by the Goethe House New York and the Brooklyn Academy of Music. The panel, including Jochen Schmidt, Reinhild Hoffmann, Nina Wiener, Nancy Goldner and Anna Kisselgoff as moderator, addresses current dance trends.

 

Manning, Susan Allene. "An American Perspective on Tanztheater." TDR 30, no. 2 (1986): 57-79.

809.205 T917, vol. 30

Discusses the divergence between German and American modern dance today and the emergence in Germany of Tanztheater. Focuses on Pina Bausch, who has evolved the most distinctive and internationally recognized form of it, and the development of her choreographic style. Also discusses works by Mechthild Grossmann, Susanne Linke and Gerhard Bohner.

 

"What the Critics Say About Tanztheater." TDR 30, no. 2 (1986): 80-84.

809.205 T917, vol. 30

Presents excerpts from reviews by twelve dance critics, most of whom comment on Bausch's works. Critics included are Burt Supree, Deborah Jowitt, Nancy Goldner, Anna Kisselgoff, Arlene Croce, Marcia B. Siegel, George Jackson, Sally Banes, Janice Ross, Mindy Aloff, Martin Bernheimer, and Alan M. Kriegsman.

 

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Selected Bibliography of Other Articles About Pina Bausch

 

Birringer, Johannes. "Dancing Across Borders." TDR 30, no. 2 (1986): 85-97.

Goldberg, Marianne. "Artifice and Authenticity: Gender Scenarios in Pina Bausch's Dance Theatre." Women & Performance 4, no. 2 (1989): [104]-17.

Jones, Jamie. "Pina Collider." Vanity Fair 57, no. 2 (1994): 226-27.

Kaplan, Jay L. "Pina Bausch: Dancing Around the Issue." Ballet Review 15, no. 1 (1987): 74-77.

Kirchman, Kay. "The Totality of the Body: An Essay on Pina Bausch's Aesthetic." Ballett International/Tanz aktuell 5 (Mai 1994): 37-43.

Klett, Renate. "In Rehearsal with Pina Bausch." Translated by Edna McCown. Heresies 5, no. 2: (1984): 13-16. First published in Die Zeit.

Koegler, Horst. "Exponent of the avant-garde: pina bausch." Dance Magazine 53, no. 2 (1979): 50-59.

Kozel, Susan. "Bausch and phenomenology." Dance Now 2, no. 4 (1993/94): 49-55.

Loney, Glenn. "Interview with Pina Bausch." Western European Stages 7, no. 3 (Winter 1995/96): 67-70.

Meisner, Nadine. "Come dance with me." Dance and Dancers (November 1992): 12-16.

Price, David W. "The Politics of the Body: Pina Bausch's Tanztheater." Theatre Journal 42, no. 3 (1990): 322-31.

Sanchez-Colberg, Ana. "'You put your left foot in, then you shake it all about …': Excursions and Incursions into Feminism and Bausch's Tanztheater." In Dance, Gender and Culture, edited by Helen Thomas, 151-63. Houndmills, Basingstoke, Hampshire: Macmillan, 1993.

Schmidt, Jochen. "Pina Bausch: Interview with the Wuppertal Choreographer." Ballett International 6, no. 2 (1983): 12-15.

____________ "The Wuppertal Choreographer Pina Bausch - The Mother Courage of Modern Dance Turns Fifty." Ballett International 13, no. 6-7 (1990): 40-43.

Siegel, Marcia B. "Carabosse in a Cocktail Dress." The Hudson Review 39, no. 1 (1986): [107]-12.

Wehle, Philippa. "Pina Bausch's Tanztheater - A Place of Difficult Encounter." Women & Performance 1, no. 2 (1984): [25]-36.

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Selected Bibliography of Other Books About Pina Bausch

 

Hoghe, Raimund. Pina Bausch: Tanztheatergeschichten. Frankfurt am Main: Suhrkamp, 1986.

Müller, Hedwig and Norbert Servos. Pina Bausch: Wuppertaler Tanztheater, von Frühlingsopfer bis Kontakthof. Cologne: Ballett-Bühnen-Verlag Rolf Garske, 1979.

Servos, Norbert. Pina Bausch - Wuppertal Dance Theater or The Art of Training a Goldfish: Excursions into Dance. Translated by Patricia Stadié. Cologne: Ballett-Bühnen, 1984.

Enlarged, updated, and translated edition of his Pina Bausch: Wuppertaler Tanztheater, von Frühlingsopfer bis Kontakthof, 1979.

Vaccarino, Elisa, ed. Pina Bausch: teatro dell'esperienza, danza della vita: Atti del Convegno Internazionale, Torino, 2-5 giugno 1992. Genova: Costa & Nolan, c1993.

 

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A Selected Videography on Pina Bausch

 

Cafe Müller. 52 min. Inter Nationes, c1985.

Performance of the work which was created in 1978.

 

European Tanztheater. Produced and directed by Isa & Harold Bergsohn. 62 min. Dance Horizons Video, c1997. Videocassette.
On reserve at Media and Microtext in Green Library: ZVC 12572

European dance theater comes alive through the works and voices of its creators, and fascinating narrative about its originators. Archival footage and beautifully filmed and edited excerpts of current repertory demonstrate the forms and power of this genre. Pina Bausch is one of those featured.

 

From Free Dance to Dance Theatre: German Expressionism. Directed by Sonia Schoonejans and produced by Nicole Philibert. 53 min. Amaya, c1992.

Third in the Dance of the Century series. Shows the development of modern dance in Germany, highlighting the choreography of Rudolf von Laban, Mary Wigman, Kurt Jooss, and Pina Bausch.

 

Pina Bausch und das Wuppertaler Tanztheater. Directed by Ulrich Tegeder. 19 min. Inter Nationes, [1980?].

Documentary on Bausch and her company as they prepare for a performance of The Rite of Spring, that is to be recorded for German television. Touches upon Bausch's earlier works, her approach to choreography, and the legacy of Kurt Jooss and German expressionist dance.

 

The Plaint of the Empress or Die Klage der Kaiserin. Directed by Pina Bausch. 103 min. Inter Nationes, 1989.
On reserve at Media and Microtext in Green Library: ZVC 12886

This is Bausch's first film, produced between October 1987 and April 1989. The general framework is set by the changing seasons and illustrates the method Bausch has worked to develop with the Tanztheater Wuppertal, in which the work tells no story but is made up of scenes put together like a collage, reflecting certain moods and invoking different associations.

 

The Search for Dance - Pina Bausch's Theatre with a Difference. Directed by Patricia Corboud. 29 min. Inter Nationes, c1994.
On reserve at Media and Microtext in Green Library: ZVC 12885

Documentary on Bausch and her work with the Tanztheater Wuppertal. Choreographic analysis of her works are illustrated with performance excerpts from Arien; Kontakthof; The Rite of Spring; Blaubart; Auf dem Gebirge hat man ein Geschrei gehört; Nelken; Bandoneon; Walzer; Palermo, Palermo; Die Klage der Kaiserin. Commentaries are provided through interviews with dance critic Jochen Schmidt and Bausch herself.

 

What do Pina Bausch and her dancers do in Wuppertal? Directed by Klaus Wildenhahn. 115 min. Inter Nationes, 1983.
On reserve at Media and Microtext in Green Library: ZVC 12884

Documentary filmed in the course of rehearsals for a new work, Walzer, showing the process of the piece taking shape. Performance and rehearsal footage of Bandoneon are seen at the opening. Includes footage of Wuppertal and its people.


By Mimi Tashiro ©1999, Stanford University


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