‘When I travel, I look at things with the naivety of a child‘ – this is one of the most inspirational quotes I’ve lately read when visiting the exhibition dedicated to Pina Bausch at Berlin’s Martin Gropius Bau museum. I would love to share my thoughts about my relationship with dancing and travelling, and how I think they walk hand in hand as a self-reflective experience.
I came back to exploring my passion of the contemporary dance since I’ve moved to Berlin, given my early background in ballet, and Pina Bausch has been always a great choreographer and dancer I’ve been looking up to. Creative, fierce and explorative – these are the characteristics of my perception of her pieces, which I could by now only look up on Youtube. However, I am more than thrilled that tomorrow I will see the legendary ‘Palermo, Palermo’ by the Tanztheater Wupperthal Pina Bausch which continues the work of this artist after her death in 2007.
What brings me to the Portuguese influences, is the piece that has been prepared specifically for the Expo 1998, which took place in Lisbon. Pina Bausch often referred the discovery of the world and own body as a similar experience and that’s why her theatre benefited a lot from the international cooperation (to name Sicily, Hong-Kong, Japan and Portugal as a few).
To me the plethora of the local and universal symbols combined with her excellent choreography bridges dance almost as a travel experience. That’s why in the darkest, coldest seasons I resort to the passion and strength that I can force through dancing. This kind of escape through travelling without moving has obviously not much to do with the dance theatre, but originates in the same need of discovery, rejecting the boundaries and limitations. This is why I can’t probably stop watching various versions of ‘The Rite of Spring’ while waiting for the sun to come up and change the season, as these are my usual thoughts around second half of December.
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