The Opera Dance of Pina Bausch, created in 1975 and became a classic, is included in the city that saw him born.
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“Orpheus is back home! [Orpheus is back at home!]”, summarized, moved, the dancer Josephine Ann Endicott after the first representation, Saturday, April 9, Orpheus and Eurydice, choreographed in 1975 by Pina Bausch (1940-2009), for his company the Tanztheater Wuppertal. In fact, this masterpiece, which had not been seen since 1993 by the public of his city, has finally been reassembled by this historic figure of the troop that is ENDICOTT, but also by Dominique Mercy who interpreted orphee When creating.
This event took away the public of the Wuppertal opera which rose for the dancers and greeted the performance by bursts of ardent applause. Difficult to imagine that this piece of youth, become a “classic” of the German artist, was absent from the repertoire. An explanation ? In 2005, Pina Bausch agreed to transmit it to the Ballet of the Paris National Opera, then led by Brigitte Lefèvre. It’s the only troop with which she will collaborate with her lifetime. The show will be repeated four times at the Garnier Palace, in Paris, until 2018, offering stars Marie-Agnès Gillot, Alice Renavand or Stéphane Bullion a springboard to a unique work.
Orpheus and Eurydice, Opera danced on gluck music, unfolds a burning lamentation whose emotional waves impulse a powerful surf. From the outset, the intense quirk, always mysterious, from the direction of Pina Bausch, Subjugue. Eurydice is first perched, hung on a wall like an image or sculpture, stationary for a very long time, offering an infinite screening screen. Wrapped with a white veil and holding a bouquet of red roses – two of the colors of the room with the black -, it is frozen waiting for an orphee wandering whose flesh clamp faux silhouette bumps with a glass transparent. Between the two, the thread of love and death is pearned with blood.
Orpheus and Eurydice was created in 1975, a few months before the Spring Spring, another monster of the Pina Bausch repertoire with which he has points of contact. The work of the choir is imperative there. The gesture writing rooted in the classic dance rushes towards the contemporary with its twist of the bust, its spiral of hips and its huge, liquid, so expressive, which close on the heart or eyes like components. His scenographic signature, in complicity with his companion Rolf Borzik (1944-1980), also appears with this taste for the landscape that we will find on the covered plateau of the corner of the coronation. Here, a spilled tree hinders and sometimes conceals the performers and their movements; leaves crink under their steps.
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