Monastery of Carmine
WHAT MAKES US MOVE – The spectators’ memories of the Tanztheater Wuppertal Pina Bausch.
by Rossella Schillaci, Italy, 2019, 25’ duration
Hosted by Gaia Clotilde Chernetich: the spectators from Bergamo retell Pina Bausch
Dancing Dreams. Following in Pina Bausch’s steps
by Anne Linsel, Germany, 2010, 92’ duration
What makes us move. The spectators’ memories of the Tanztheater Wuppertal Pina Bausch (2019, 25’)
direction: Rossella Schillaci
idea and artistic consultancy: Susanne Franco
produced by: Lavanderia a Vapore/Piemonte dal vivo in collaboration with Azul
with the support of PINA BAUSCH FOUNDATION WUPPERTAL
What makes us move. The spectators memories of the Tanztheater Wuppertal Pina Bausch was carried out for the Maratona Bausch. Make memory dance, rethink the story is an event,curated by Susanne Franco and organized and promoted by Lavanderia a Vapore/Piemonte dal vivo (November 2018), to celebrate the fortieth anniversary of the creation of Café Müller (1978) and pay homage to Pina Bausch, ten years after her demise. The short movie is a series of interviews the visual anthropologist Rossella Schillaci held with the spectators who had seen the Tanztheater Wuppertal Pina Bausch’s shows in Italy, to give back a sample of this repertoire to the individual and collective memory. Some of those interviewed have responded to a press or social media call, while others have been called on to tell their experience and their memories. This dramaturgy of voices is accompanied with the video images provided by Pina Bausch Foundation, that will conserve the only copy of the short movie in its digital archive.
Spectators from Bergamo retell Pina Bausch
Starting from the testimonials collected in the public call Applausi per Pina,organized by Danza Estate Festival, Gaia Clotilde Chernetich, author, scholar and dramaturg for Dance, will present her project What makes us moveof Live Piemonte Foundation. This memory archive comes from the Tanztheater Wuppertal spectators’ experience, and will also involve amateurs and dance enthusiasts in the province of Bergamo. Participants to the call will be asked to send a text and tell their experience as spectators and will be allowed to take part in the meeting hosted by Gaia Clotilde Chernetich, which will follow the early evening documentary.
To take part in Applausi per Pina:
Send us yourshort story to email@example.com your name, surname, the title of the show you have seen and where it was performed. Your testimonial will nourish everybody’s memory on Pina Baush’s heritage.
Trained as dancer,Gaia Clotilde Chernetichis an author, scholar and dramaturg for dance. She writes for Doppiozero, Teatro e Critica, 93% and Springback Magazine. She takes part in the Springback Academy project, organized by the Aerowaves Europe dance network. In 2017 she obtained an European PhD in Art with a specialization in Dance at the University of Côte d’Azur (France) and at the University of Parma. Memory architectures. Pina Bausch’s legacy between archive and stageis her first book to be published (it’s being printed for the Accademia University Press, Italy). She has designed and worked in several, educational projects regarding the international culture of performing arts.
Dancing Dreams. Following in Pina Bausch’s steps.
DirectionAnne Linsel, Rainer Hoffmann. A movie with Pina Bausch, Josephine Ann Endicott, Bénédicte Billet. Original title: Tanzträume. Genre: Documentary – Germany, 2010, 92′ duration.
On different musical genres, from cucaracha to boogie woogie, mixing lyricism and realism, “Kontakthof” becomes an heterogeneous micro-world, where differences are highlighted but at the same time welcomed with touching tolerance. The adorable humanity smiling, laughing and dancing on stage swings between the embarrassment of the first sentimental trepidations and the fire of an overwhelming passion of love. Learning how to engage with others is a mandatory step for youth and Bausch’s students are not exempt. They overcome the obstacle by acting: through fiction their awareness is raised and they grow up. They accept their own physical limits, legs too thin or shoulders too large, laughing non-stop, proving that they deserve their place on stage.
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