Mongrel Media

Presents

PINA

A Film by Wim Wenders (106 min., Germany, 2011)

Distribution

1028 Queen Street West Toronto, Ontario, Canada, M6J 1H6

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Publicity

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High res stills may be downloaded from http://www.mongrelmedia.com/press.html

6 CREW

7 DANCERS

8 SHORT SYNOPSIS

8 PRESS NOTICE

9 WIM WENDERS ABOUT PINA BAUSCH(1)

9 InventorofaModernArtForm

9 Movement

10 PRODUCTION NOTES

10 TheDevelopmentoftheProject

10 ShockandanewBeginning

11 Virginterritoryandatotallynew experience

12 Shooting

13 WIM WENDERS ABOUT PINA BAUSCH(2)

14 THE TANZTHEATER WUPPERTAL PINA BAUSCH

14 FOUR PIECES BY PINA BAUSCH FOR THE FILM PINA

14 LeSacreduPrintemps

14 Kontakthof

15 CaféMüller

15 Vollmond

16 PORTRAITS

18 PINA BAUSCH ABOUT HER WORK

18 Questions

18 Searching

18 Findingsomethingthatneedsnoquestion

19 NEW CINEMATIC TERRITORY 3D

19 InterviewwithWimWenders

22 NEW CINEMATIC TERRITORY 3D(PARTII)

22 3DProducerErwinM.Schmidttalksabout theproductionprocess

24 BIOGRAPHIES

24 PINABAUSCH–Dancer,Choreographer

26 WORKSBYPINABAUSCH

29 WIMWENDERS–Writer,Director, Producer

31 FILMOGRAPHYWIMWENDERS

32 GIANPIERORINGEL–Producer

32 PETERPABST–ArtDirector

32 DOMINIQUEMERCY–ArtisticConsultant

33 ROBERTSTURM–ArtisticConsultant

33 MARIONCITO–Costumes

33 ROLFBORZIK–SetandCostumeDesign until1980

34 ALAINDEROBE–Stereographer

34 HÉLÈNELOUVART–Cinematographer

34 FRANÇOISGARNIER–3DSupervisor

35 ERWINM.SCHMIDT–3DProducer

35 TONIFROSCHHAMMER–Editor

35 THOMHANREICH–Composer

ConTEnTS

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Writer/Director/ Wim WendersProducer

Producer Gian-Piero Ringel

Stereographer Alain Derobe

Cinematographer Hélène Louvart Jörg Widmer

3DSupervisor François Garnier

3DProducer Erwin M. Schmidt

Editor Toni Froschhammer

Composer Thom Hanreich

MusicConsultant Milena Fessmann / Beckmann

Mixer Matthias Lempert

Sound André Rigaut

Producers Wolfgang Bergmann

Gabriele Heuser

Dieter Schneider

Co-producers Claudie Ossard

Chris Bolzli

ExecutiveProducer Jeremy Thomas

AssociateProducer Heiner Bastian

Stefan Rüll

Stephan Mallmann

Dr. Mohammad Zahoor

ProductionManager Peter Hermann

Helen Olive

For the Tanztheater Wuppertal Pina Bausch

Choreography Pina Bausch

ArtisticConsultant Dominique Mercy

Robert Sturm

ArtDirector Peter Pabst

Costumes Marion Cito

Rolf Borzik

MusicConsultant Matthias Burkert

Andreas Eisenschneider

ANeue Road MoviesProductionincoproductionwithEurowide Filmproduction, ZDF,

ZDFtheaterkanalinassociationwithArteand3sat

inassociationwiththeTanztheater Wuppertal Pina

Bausch, L’Arche Editeur, Pina Bausch Stiftungand

Pictorion Das Werk

withthesupportof Filmstiftung NRW, DFFF, FFA,

Medienboard Berlin-Brandenburg, BKMandCNC

CrEW

TECHniCal DaTa LENGTH: 103 MIN. /FORMAT: 1:1,85 /COLOUR

SOUND: DOLBY 5.1 /SCREENINGFORMAT: 3D DCP

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DanCErSRegina Advento

Malou Airaudo

Ruth Amarante

Jorge Puerta Armenta

Pina Bausch

Rainer Behr

Andrey Berezin

Damiano Ottavio Bigi

Aleš Cucek

Clémentine Deluy

Josephine Ann Endicott

Lutz Förster

Pablo Aran Gimeno

Mechthild Großmann

Silvia Farias Heredia

Barbara Kaufmann

Nayoung Kim

Daphnis Kokkinos

Ed Kortlandt

Eddie Martinez

Dominique Mercy

Thusnelda Mercy

Ditta Miranda Jasjfi

Cristiana Morganti

Morena Nascimento

Nazareth Panadero

Helena Pikon

Fabien Prioville

Jean-Laurent Sasportes

Franko Schmidt

Azusa Seyama

Julie Shanahan

Julie Anne Stanzak

Michael Strecker

Fernando Suels Mendoza

Aida Vainieri

Anna Wehsarg

Tsai-Chin Yu

AsGuestsin“LeSacreduprintemps“:

Alexeider Abad Gonzales

Stephan Brinkmann

Meritxell Checa Esteban

Paul Hess

Rudolf Giglberger

Chrystel Wu Guillebeaud

Mu-Yi Kuo

Szu-Wei Wu

Tomoko Yamashita

Sergey Zhukov

Andy Zondag

8

PINAisafeature-lengthdancefilmin3DwiththeensembleoftheTanztheaterWuppertalPinaBausch,featuringtheuniqueandinspiringartofthegreatGermanchoreographer,whodiedinthesummerof2009.

PINAisafilmforPinaBauschbyWimWenders.Hetakestheaudienceona

sensual,visuallystunningjourneyofdiscoveryintoanewdimension:straightontothestagewiththelegendaryensembleandfollowsthedancersoutofthetheatreintothecityandthesurroundingareasofWuppertal–theplace,whichfor35yearswasthehomeandcenterforPinaBausch’screativity.

SHorT SynopSiS

AfterthesuddendeathofPinaBauschinthesummerof2009–inthemiddleofjointpreparationsbeforeshooting–WimWenders,afteraperiodofmourningandreflection,hadtorethinkandstartagainwithhisfilmaboutandwithPinaBausch.TheresultwasafilmforPinaBausch.Usingthechoreographieswhichhadbeenjointlyselected–“CaféMüller“,“LeSacreduprintemps“,“Vollmond“and“Kontakthof“,-andusingsomeimagesandaudiofilesofherlifeaswellas3DrecordingsofindividualensemblemembersoftheTanztheaterWuppertalwhoinspringof2010dancedpersonalmemoriesoftheprecise,criticalandlovingnatureoftheirgreatmentor.

Duringmorethan20yearsofpersonalfriendship,WimWendersandPinaBauschneverlostsightoftheirideatomakeadancefilmtogether.Butonlynow,withthelatestpossibilitiescreatedbydigital3Dtechnology,didWimWendersfindtheaestheticmeanstobringtheuniqueplasticityandemotionalexpressivenessofPinaBausch’sinnovativeTanztheatertothecinemascreen.Onlynowcanthedimensionofthespacebereproducedinthecinema.Itisthisdimensioninwhichmovementanddancetakeplace,andintowhichthenew3Dcinemacantakethevieweronasensualjourneyofdiscovery.

prESS noTiCE

9

No,therewasnohurricanethatsweptacrossthestage,therewerejust…peopleperformingwhomoveddifferentlythenIknew

andwhomovedmeasIhadneverbeenmovedbefore.AfteronlyafewmomentsIhadalumpinmythroat,andafterafewminutesofunbelievingamazement

Isimplyletgoofmyfeelingsandcriedunrestrainedly.

Thishadneverhappenedtomebefore…maybeinlife,sometimesinthecinema,

butnotwhenwatchingarehearsedproduction,letalonechoreography.

Thiswasnottheatre,norpantomime,norballetandnotatallopera.

Pinais,asyouknow,thecreatorofanewart.

Dancetheatre.

WiM WEnDErSaBoUT pina BaUSCH (1)

Untilnowmovementassuchhasnevertouchedme.Ialwaysregardeditasagiven.

Onejustmoves.Everythingmoves.OnlythroughPina’sTanztheaterhaveIlearnedtovalue

movements,gestures,attitudes,behaviour,bodylanguage,andthroughherworklearnedtorespectthem.

Andaneweverytimewhen,overtheyearsIsawPina’spieces,manytimesandagain,didIrelearn,oftenlikebeingstruckbythunder,

thatthesimplestandmostobviousisthemostmovingatall:Whattreasurelieswithinourbodies,tobeabletoexpressitselfwithoutwords,

andhowmanystoriescanbetoldwithoutsayingasinglesentence.

Speaking at the ceremony of the 2008 Goethe Prize of the city of Frankfurt am Main to Pina Bausch (excerpt)

MoVEMEnT

inVEnTor oF a nEW arT ForM

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WimWenderswasdeeplyimpressedandmovedwhenin1985hesawforthefirsttime“CaféMüller“bychoreographerPinaBauschwhentheTanztheaterWuppertalperformedinVenice,attheoccasionofaretrospectiveofBusch’swork.Outofthemeetingofthetwoartistsgrewalong-standingfriendshipandwiththepassageoftimetheplanforajointfilm.However,puttingtheplanintoactionfailedforalongtimebecauseofthelimitedpossibilitiesofthemedium:WendersfeltthathehadnotyetfoundawaytoadequatelytranslatePinaBausch’suniqueartofmovement,gesture,speechandmusicintofilm.Overtheyearsthejointfilmprojectturnedintoafriendlyritual,almostarunninggag,withbothartistsremindingoneanotheroftheirplan.“When?”“AssoonasIknowhow…”

ThedefiningmomentfinallycameforWimWenderswhentheIrishRockbandU2presentedtheirdigitallyproduced3Dconcertfilm“U2-3D“inCannes.Wendersknewimmediately:“With3Dourprojectwouldbepossible!Onlyinthisway,byincorporatingthedimensionofspace,Icoulddare(andnotjustpresumingly),tobringPina’sTanztheaterininanadequateformtothescreen.“Wendersbegantosystematicallyviewthenewgenerationofdigital3Dcinemaandin2008togetherwithPinaBauschtoconsidertherealizationoftheirshareddream.TogetherwithWimWenders,Bauschselected“CaféMüller“,“LeSacreduprintemps“,”Vollmond“and“Kontakthof“fromherrepertoireandaddedthemtoher2009/2010season.

proDUCTion noTES

Inearly2009,WimWendersandhisproductioncompanyNeueRoadMovies,togetherwithPinaBauschandtheEnsembleoftheTanztheaterWuppertal,beganthephaseofactualpre-production.Afterhalfayearofintensivework,andonlytwodaysbeforetheplanned3Drehearsalshoot,theunimaginablehappened:PinaBauschdiedonJune30th2009,suddenlyandunexpectedly.AroundtheworldadmirersofherartandfriendsoftheTanztheaterWuppertalmournedthedeathofthegreatchoreographer.Thisseemedtobetheendofthejointfilmproject.WimWendersimmediatelystoppedpreparations,convincedthatthemovie,withoutPinaBausch,shouldnolongerbepursued.

Afteraperiodofmourningandreflectionandencouragedbymanyinternationalappeals,theconsentofthefamily,andtherequestofstaffanddancersoftheensemblewhowerejustabouttostartrehearsingthepiecesselectedforthefilm,WimWendersdecidedtomakethefilmwithoutPinaBauschathisside,afterall.Herinquiring,affectionatelookatthegesturesandmovementsofherensembleandevery

detailofherchoreographywasstillaliveandpresentandinscribedintothebodiesofherdancers.Now,inspiteofthegreatloss,wastherightmoment,andmaybethelastonetorecordallthisonfilm.

Thenewfilmconceptincludes,inadditiontoexcerptsfromthefourproductionsof“CaféMüller“,“LeSacreduprintemps“,”Vollmond“and“Kontakthof“,carefullyselectedarchivefootageofPinaBauschatwork,innovativelyinsertedinthe3Dworldofthefilmasathirdelement,withmanyimaginative,shortsoloperformancesbythedancersoftheensemble.Toachievethis,WimWendersusedPinaBausch’sownmethodof“questioning”withwhichthechoreographerdevelopedhernewproductions.Sheposedquestionsandherdancersanswerednotinwords,butwithimproviseddanceandbodylanguage.TheydancedintimatefeelingsandpersonalexperiencesfromwhichPinaBausch,duringintensiveworkingsessionswithherensemble,developedherpieces.WimWendersturnedtothismethodwhenheinvitedthedancerstoexpresstheirmemoriesofPinaBauschfor

THE DEVElopMEnT oF THE proJECT

SHoCK anD a nEW BEGinninG

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thefilminindividualsoloperformances.WendersfilmedthesedifferentsolosforPINAinnumerouslocationsinandaroundWuppertal:inthecountrysideoftheBergischesLand,inindustrialfacilities,atroadcrossingsandintheWuppertalSuspensionLine.Theygivethedancersoftheensembleindividualfaces,andformanexciting,polyphonicadditiontothecomposedpiecesof“CaféMüller“,“LeSacreduprintemps“,”Vollmond“and“Kontakthof“.

TanztheaterWuppertal‘slong-timecostumedesigner,MarionCito,summedup

theworkwithWimWendersandhisfilmcrewduringthefilming:“Likemanyofmycolleagues,IsometimescannotbelievethatPinaBauschisnolongerhere.Thegreatsadnessisstillfarfromover.Togetoveritneedsmoretime.Onesenses,however,thatshelivesoninherworks.EverythingIdo,eventhefilming,IdoforPina.Thathelps.Ithinkit’sreallygreatthatWendersisshootinghismovienow,becausePinawantedthisverymuch.“

VirGin TErriTory anD a ToTally nEW EXpEriEnCE

PINAisnotonlyoneofthefirstEuropean3Dmoviesever,itisalsotheworld’sfirst3Darthousefilm.ProducerGianPieroRingelwasfacedwithnoeasytask:“Technologicallyaswellaswiththegenre,weentercompletelyuncharteredterritorywithPINA.Eventofindthetechnicalexpertsforthedevelopmentandimplementationwasachallenge,astherewereveryfew.”Currentlyanewfilmlanguageisbeingdevelopedthroughthedigital3Dprocess–achallengeforanyproducer.“Manyotherdirectorsarestillhesitatingtoworkin3D,becausetherearenosuccessfulmodels.Wewantedtobeapioneersintheexpansionofthecinematiclanguageto3D.“

Butconqueringnewterritoryrequiresaspecialeffort:“Everyoneinvolvedintheproductionhadtolearnhowtomakea3Ddancemovie.Whatworksin2D,doesbynomeanshavetoworkin3D.Forthisweneededproperresearch”,says3DProducerErwinM.Schmidt.Hecontinues:“Inanongoinglearningprocess,weacquiredtheknow-howforthepreparation,theshootandthepost-production.”

“Thenew3DprocessopensupanentirelynewperspectiveontheTanztheater,“saidadelightedDominiqueMercy,oneofthetwoartisticdirectorsoftheWuppertalTanztheater,duringthefilming.“ToworkatthiswithWimWendersandhiscrewisawonderfulexperience.Itisahugejointjourneyofexploration.

WimWenderscontinuestofindoutmoreandmoreaboutwhattheTanztheatercanbe,andwediscoverwiththefilmteamawholenewwayofworking.Itisaverycreativeatmosphere.”

“Withthenew3Dtechnology,WimWenderspicksuptheworkoftheTanztheaterthatalwaysconsistedincrossingboundaries”,explainsPeterPabst,setdesigneroftheTanztheaterWuppertalsince1980andArtDirectorofthefilmproductionPINA.“Crossingtheborderbetweenthestageandtheviewerisanimportantpartofthechoreography.Thedancersareconstantlyengagedwiththeaudience,evenphysicallycomingdownfromthestage.IthasalwaysplayedacrucialroleforPinaBauschthatherpiecesarecompletedfirstintheheads,eyes,heartandinthefeelingsoftheaudience.”

WithPINA,WimWendersconqueredanewdimensionoffilmmakingandyetsaysalreadyduringthefilming:“Asmuchasweneedthethirddimension,wearesimultaneouslydoingourbesttomaketheaudienceforgetthisvery‘conquestofspace’.Theplasticityshouldnotcallattentiontoitself,butshouldmakeitselfalmostinvisible,sothatPina’sartbecomesevenmoreevident”

12

SHooTinG

PINAwasfilmedinWuppertalinthreestages:inautumnof2009,inspringandinsummerof2010.Inthefirststage“CaféMüller“,“LeSacreduprintemps“and“Vollmond“wereperformedliveonstageattheWuppertalOperaHouse,someinfrontofanaudience,andrecordedintheirentirelengths.ThetightglobaltourscheduleoftheTanztheaterallowedonlythiswindowforthefilming.Inadditiontothecomplex3Drecording,thechallengeincreasedsignificantlywiththelivesituation,becausetherecordingscouldnotbeinterruptedorrepeated.Thecomplexityofa3Dliverecordingrequiredintensivepreparationandplanning.

Forthe3DimagecompositionWimWendersconvincedoneofthemostexperienced3Dpioneersinstereography,AlainDerobe,tojoinhisteam.FortheuniquerequirementsoftheshootofPINA,Derobedevelopedaspecial3Dcamerarigmountedonacrane.Tocreatethedepthoftheroomitisveryimportanttostayclosetothedancersandtofollowthem:“Normally,withadancefilm,wewoulderectcamerasinfrontofthestage,farawayfromtheactiononstage,”saysAlainDerobe,“forPINAwepositionedthecamerasbetweenthedancers.Thecameraliterallydanceswiththem.Therefore,eachcrewmemberhadtodealwiththechoreography.Everyonehadtoknowexactlywherethedancerswouldmovesothecameracouldfollowthemandnotbeintheirway.”

Derobewassupportedby3DSupervisorFrançoisGarnier,whoalsosawdancetheatrein3Dasaspecialchallenge:“Wecannotstopadancerinshortsequences,onemustshootinmuchlongersequences.Thechallengeistoalwaysstayclosebywiththecamera,althoughthedancermoves.“Despitethedifficulties,Garnierisconvincedofusing3D:“Becausedanceisbynatureamovementinspace,thereisnobettermethodthan3Dtechnologytoshowdance.3Dhasallthespace,alltheaction,andallthemovementtooffer.Thesenseofphysicalsensationismuchmorepowerfulthananyintellectualreflection.With3D,cinemaentersanewlevel.“

Inthesecondstageoffilming,theteamrecordedwith“Kontakthof”anotherearlypiecebyPinaBausch,thistimewithoutanaudience.TheclassicwasfilmedbyWimWendersinthethreedifferentcastingscreatedbyPinaBausch:withtheensembleoftheWuppertalTanztheater,withmenandwomenagedbetween65and80,andwithteenagersfromtheageof14on.Forthesolosthedancersoftheensembleleftthelimitedspaceofthestageandperformedinpublicspaces,industriallandscapes,thesweepingcountrysideoftheBergischesLandandintheWuppertalSuspensionLine.

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Pinasawwiththeheart,untilshewasallspent.Shedidn’teconomizehergift.

Indoingso,hereyeswerealwaysstrict.Aslovingastheywere,ascriticaltheywereaswell.

Butalwayscaring,notleavingyouexposed.Neverjudging,butuplifting.

“Yougottabecrueltobekind,”isabeautifullineinasongbyElvisCostello.

Thegreatestofallartsindealingwithpeopleis,Ithink,tobringoutthebestfromeachone

andmakeitvisible.ThatwaswhatPinaexcelledat.

Youdancersknowallthismuchbetterthanme.Youwereforyears,manyofyoufordecades,

theorchestraofPina’sglance,eachofyouapreciousuniqueinstrument.

Sheenabledeachofyou,lovinglybutrigorously,nottoconcealyourbest,buttodiscloseit.

Andsheallowedus,herspectators,toshareherlook

andopenoureyesforourselvesandthehiddenlanguageinsideus.

Speaking at the commemoration for Pina Bausch4. September 2009 at the Wuppertal Opera House (excerpt)

WiM WEnDErSaBoUT pina BaUSCH (2)

For pina

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THE TanZTHEaTEr WUppErTal pina BaUSCH

ThebeginningwascontroversialwhenPinaBauschtookoverasheadofthedancedivisionattheWuppertalTheatreforthe1973/74season:theformshedevelopedovertheyears,amixtureofdanceandtheatre,wastoounusual.Withher,theperformersnotonlydanced,theytalked,sang,andsometimescriedorlaughedaswell.Butthisunconventionalworkprevailed.TherewasarevolutioncomingfromWuppertal,whichemancipatedandnewlydefineddanceacrosstheworld.TheTanztheaterrosetobeinaleagueofitsown,whichinfluencedinternationalchoreographersandaffectedboththeatreandclassicalballet.TheworldwidesuccesswasduetothefactthatPinaBauschmadeauniversalneedhercoreissue:theneedforlove,forclosenessandsecurity.Forthisshedevelopedanopenformofworkingthatcouldholdthemostdiverseculturalinfluencesinthem.Inconstantlynewpoeticexcursions,sheexaminedwhatbringsusclosertoourneedforloveandwhat

movesusawayfromit.ItisaWorldTheatrethatisnotpatronizingorknowsbetterthantheaudience,butratherproducesexperiences:blissfulormelancholy,gentleorconfrontational,andattimesfunnyandbizarre.Thesearevividandmovingimagesofinternallandscapesthatexploreminutelythehumanconditionwhilenevergivinguphopethatthelongingforlovecanbesatisfied.Hopeisakeytothiswork,asisitssenseofrealism.Thepiecesareallrelatedtosomethingallviewersknowandcanexperiencebythemselves.Inthe36yearsthatPinaBauschhasshapedherpiecesatWuppertaluntilherdeathin2009,shehascreatedabodyofworkthatpresentsanincorruptibleviewofrealityandalsoencouragespeopletoliveuptotheirownwishesanddesires.Heruniqueensemble,withitsmanystrongpersonalities,willcontinuetomaintainherstandardsinthefuture.

From: www.pina-bausch.de

FoUr piECES By pina BaUSCHFor THE FilM pina

“LeSacreduprintemps”isoneofPinaBausch’smostperformedandmostsuccessfulearlypieces,whichmadeherworkknowntoalargeaudience,after“IphigeniainTaurus”and“OrpheusandEurydice”.Thewholestageisfilledankledeepwithpeat,sothatallthedancers’movementsleavetracesandnolight-footed

actionsarepossible.Slowlyitturnsintoanarchaicarenainwhichthegendersfighteachother.Awomanwilleventuallybesacrificedinaritual.TherhythmicmusicbyIgorStravinskyincreasestheviolentgroupdynamic,andgraduallyextinguishesallindividualreactions.

lE SaCrE DU prinTEMpS (premiered 1975)

“Kontakthof”couldinmanyrespectsberegardedasthesumofPinaBausch’swork.Ittakesplaceatasinglelocation,alargedancehalloratheatre.Thehighroomiscompletelyempty,tothefrontitisopentothepublic,openlikeapeepshow,andtheotherthreesidesareequippedwithlongrowsofchairs.Menandwomenaresittinglinedupagainstthewalls.Slowlytheymovetoallsortsofencounters,somemovingcautiously,otherswildandimpetuously.

Sometimesthereisasinglepaironthedancefloor,sometimestheentirecastof30dancers.PinaBauschcreatedthispiecewithherensemblein1978,thenyearslater,in2000,rehearsedandnewlyperformeditagain,butthistimenotwithherregulardancetroupe,butwithnon-professionaldancers,amateurs,whodonotnormallyappearinthiscontext:namelywithseniorsaged65andover.Thiswas(andis)asensation,becauseitcompletelyquestions

KonTaKTHoF (premiered 1978 / 2000 / 2008)

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andaltersourviewofoldpeopleandofage.“Kontakthof”playedanddancedbyoldpeople,triggersatotallydifferentperceptionofbeauty,grace,mortality,aging,compassionandyes,emotionandpassion.Eightyearslaterin2008,the“Kontakthof”experiencewasexpandedbyafurtherlayer,whenyoungpeoplerehearsed

thepiece,teenagersagedbetween14and18.Thisaddedanothernewview.Thesamegesturesandmovementscontributedagainanothermeaning.Suddenlyoneisfacedasaspectatorwithonesownexperience,evenmore,withonesownvisionofself,oneslife,dreams,fears,projections.

“CaféMüller”isanalmostminimalistpiece,performedbysixdancers/performers.Thestageshowsabaregrayplacethatisfilledonlybydozensofcoffeetablesandchairs.Theactorsanddancersaretryingtofindeachother.Butthroughtheclutteredroom,theirmovementsareslowandgenerallylimited.Theyactlikesleepwalkers,withclosedeyesinatrance,andtheyremain

strangers,blindtoeachother.Onlyoneman,open-eyed,triestohelpotherstofindoneanother,andfreneticallyopenspassagesthroughtheforestofchairsforthembyswirlingfurnituretotheside.TothemelancholymusicbyHenryPurcell“CaféMüller”tellsoflonelinessandlonging,intheatmosphereofadreamworld.

CaFÉ MÜllEr (premiered 1978)

“Vollmond”showsPinaBausch’sartinfullbloom.Anexuberantmusicdeterminesthepiece,justasthemagnificentsceneryofPina’slongtimeclosecollaboratorPeterPabst.Alargerockdominatesthesceneandamoatseparatesthestagelikeariver.Twelvedancersplayinthesilverlandscape,andareexposedtotherainandthestorm,andsearchfeverishlyforlove.Evenhere

afight(orwar)ofthesexesisthecenterofallrelationships.AsinallnewworksbyPinaBausch,sometimesitleadstolightandhumoroussituations,often,tofearandterror.Asplayfulasthepiecebegins,sowildandunrestraineditwillendasthetwelvedancersromptototalexhaustion.

VollMonD (premiered 2006)

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porTraiTS

... the Tanztheater Wuppertal pina Bausch for the film pina

Regina Advento Malou Airaudo Ruth Amarante Jorge Puerta Armenta

Rainer Behr Andrey Berezin Damiano Ottavio Bigi Ale⌃ Cucek

Clémentine Deluy Josephine Ann Endicott Lutz Förster Pablo Aran Gimeno

Silvia Farias Heredia Barbara Kaufmann Nayoung Kim Daphnis Kokkinos

Eddie Martinez Dominique Mercy Thusnelda Mercy Ditta Miranda Jasjfi

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Cristiana Morganti Nazareth Panadero Helena Pikon Jean Sasportes

Franko Schmidt Azusa Seyama Julie Shanahan Julie Anne Stanzak

Michael Strecker Fernando Suels Mendoza Tsai-Chin Yu Aida Vainieri

Anna Wehsarg

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“Thosequestionsaretheretoverycarefullyapproachasubject.Thisisaveryopenwayofworking,andyetquiteaccurate.IalwaysknowexactlywhatIamlookingfor,butIknowitemotionallyandnotwithmyhead.Therefore,onecanneverreallyaskdirectly.Thatwouldbetooblunt,andtheanswerswouldbetoobanal.Ihavetoleaveitalone,whatI’mlookingfor,atleastwithwords,butImustrevealitandmakeitappearwithalotofpatience.Whenasmallmomentisfound,thenIknowthatitbelongstowhat

Iwaslookingfor.Iamhappythen,butI’mnottalkingaboutit.ThedancersdonotknowwhatI’mlookingfororwhatIfindspecialorprecious.Thisbelongstothemutualtrustweneedinthiswork.Everyonemusthavethefreedom,withoutinhibitions,toshoweverything.Ifyoukeepsomethinginsideyou,yourthoughtsrevolvemoreandmorearoundit,andyouwillnotgetridofit.However,ifyouletitout,thenotherthingscansurface.”

pina BaUSCHaBoUT HEr WorKQUESTionS

“Everydetailisimportant,everychange,becauseeachshiftcreatesadifferenteffect.Allthatwefindduringrehearsalislookedatandexaminedverycarefullytoseeifitcanholdwaterevenunderthemostdifficultconditions.IallownothinginwhichIcannotbelieve,whichdoesnotconvinceme.Attheend,ofthemanyquestionsonlyveryfewthingsremainthatconstituteapiece.Everythingisscrutinizedagainandagainandreconsidered.Everydetailundergoesavarietyoftransformations,untilithas

founditsrightplaceattheend.Ittakesalongtimeeverytime,untilsomethingisunderway.Evenoverlookingjustalittlethingmighttaketheworkastepinthewrongdirection,anditisveryhardtocorrect.Thereforeyouneedahighdegreeofaccuracyandhonestyinthisworkandalotofcourage.Weshowsomethingpersonal,butitisnotprivate.Itrevealsapieceofwhatweallhaveincommon.Tofindthatrequiresgreatpatienceandawillingnesstolookoverandoveragain.”

SEarCHinG

“I’veneverintendedtoinventaparticularstyleoranewkindoftheatre.Theformemergedquitebyitself:fromthequestionsIhad.InmyworkI’vealwayslookedforsomethingIdidnotyetknow.Thisisapermanent,alsoapainfulsearch,astruggle.Whensearching,youcannotrelyonanything:notraditionandnoroutine.There

isnothingthatyoucanholdonto.Youstandalonefacinglifeandtheexperiencesthatyoumake,andyouhavetotryallonyourowntomakevisiblewhatyouhavealwaysknown,oratleastgiveaclueorforeshadowit.It’saboutfindingsomethingthatdoesnotneedanyquestion.“

FinDinG SoMETHinG THaT nEEDS no QUESTion

From: The 2007 Kyoto Prize Workshop in Arts and Philosophy, “Finding something that needs no question” by Pina Bausch

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You experienced the worst that can happen to a film, the death of the main character. Didn’t the death of Pina Bausch also mean the death of this film project?

Pinawasmorethanthe“maincharacter”.Shewasthereasonitselftomakethisfilm.Wewereinthemiddleofpreparations,immediatelybeforethefirst3DtestshootwiththeensembleinWuppertal,whenwereceivedthenewsofPina’sabruptdeath.Yes,ofcourse,weimmediatelystoppedeverything.Itseemedpointlesstomakethemovie.Afterall,PinaandIhaddreamedofthisprojecttogetherfortwentyyears!OriginallyaspontaneoussuggestionfrommetoPinainthemid-eightiestomakeafilmtogether,itgraduallybecameakindof“runninggag”betweenus.Pinawouldask:“Whataboutdoingitnow,Wim?”andIwouldanswer:“Istilldonotknowhow,Pina!“Ijusthadnoideahowtofilmdance-evenafterstudyingallsortsofdancefilms.TheTanztheaterofPinaBauschhassuchfreedomandjoyenergy,suchphysicality,andissofulloflife,Ireallydidnotknowhowtofilmitappropriately-untilonedayIcaughtthefirstglimpseofthenewdigital3D,in2007.That’swhenIcalledPina,stillfromthecinema:“NowIknowhow,Pina.”Ididn’thavetosaymore,sheunderstood.

And you started immediately?

Ittookalittlebitlonger.Atcloserinspection,thetechnologywasnotready.Itwasgoodenoughforanimationandblockbustermovies,buttorendermovementsnaturallywehadtowait.Wethenstartedtoplanthemovietwoyearsago,andpreparedtheshootforthefallof2009-thefirstmoment,really,ourprojectwastechnicallypossible.Well,andthenPinawassuddenlygone.Iimmediatelypulledtheplugandstoppedthepreparations.Afterall,thefilmwascompletelywrittenforandwithPina.Wewantedtowatchherinrehearsals,accompanyherontourwithherensemble,andPinawouldhaveintroducedasherselftoherkingdom...

Onlyweekslateritdawnedonus:thepiecesthatPinaandIhadputtogetherontheprogrammeofhertheatresothattheycouldbefilmed,wereabouttoberehearsedbythedancers,anditwastheywhoweresaying:“Inthecomingmonthswewillperformallthepiecesyoubothwantedtorecordsomuch.Youcannotleaveusalone.Youhavetofilmthis!Nowmorethanever!”Andtheywereabsolutelyright!RightnowPina’slookwasstilloneverything!WethereforetookuptheprojectagainwiththeaimthatinOctoberwecouldatleastrecord“CaféMüller”,“LeSacreduPrintemps”and“Vollmond”in3D.Wewerenotabletoachieveanymoreatthatmoment.Afterall,thewholeconcepthadtoberadicallychanged.Fromajointfilm,whichwehadplannedtoco-direct,wenowhadtoswitchtosomethingentirelydifferent.OnlyonthesecondandthirdshootinAprilandJune2010,wewerefinallyabletobringthefilmtoanend.

Was there already material with Pina Bausch?

No,wenevershotanythingtogether.Shediedon30June;wehadagreedtomeetwithour3DteaminWuppertaltwodayslaterforthefirsttestshootwithherdancers,sothatPinacouldseesomethingin3D.Pinaneversawanything.Well,shedidnotjustwanttoseeanythingin3D,shewantedtoseeherowndancers.Thenshewouldunderstanditbetter,shesaid.AndInevergotthechancemyselftohaveherinfrontofthecamera.MywifeDonatatookpicturesofher,that’sall.ButPinaisstillinthemovie.Therearenewpossibilitiestoincludedocumentarymaterialandtwo-dimensionalimagesintoa3Dproject.

How developed is the technology?

Duringthefirsttestsitshowedthatthetechnologywasnotasdevelopedaswehadhoped.AsPinawasnolongerthere,Ifeltevenmoreobligedthatthisthree-dimensionalimagereallylookedas

nEW CinEMaTiC TErriTory 3DinTErViEW WiTH WiM WEnDErS

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fantasticasIhadpromisedher.Anaturalreproductionandperceptionofspacewasnecessary,justasifweasspectatorsstandbeforethestage,orbetter:rightonit.

This sounds easier than it probably was.

Thefirsttestimageswerefrightening.Wequicklyrealisedthatallerrorsin2Dmultiplyin3Dandraisethepoweroftwo.If,forexample,youpanthecamerawiththedancersonstage,itquicklyhappensthattheimagesuffersastrobe-likeeffectandisunnaturallyjerky.In2D,weknowhowtoavoidit:wehavetopanslower.In3D,itdidnotseemtobepreventableatall.Anyquickmovementofthearmofadancerproducedtheimpressionthatforafractionofasecondyouwouldlookattwo,threeorfourarms.Filmalsodoesnotrendereverymovementonthescreenfluently-onlythatbynowwehavegotusedtoitsowenolongernoticeit.Butin3D,anyvisualmistakewassuddenlyhugeandallovertheplace.

You could shoot at a higher frame rate…

Correct,you’dhavetoshoot50framespersecondinsteadoftheusual24.Wetriedthis,andtheresultwassensational,beautiful.Butimmediatelytherewasasetback:wecouldindeedshootthisway,butwecouldnotplayitinthecinemas,becausetheonlystandardfor3Daroundtheworldis24frames.WestruggledwiththeInstituteinAmerica,whichisresponsibleforthisstandard,andsoonbecameawarethatwewalkedinthefootstepsofJamesCameron.HealsodesperatelytriedtoconvincethemthatAvatarwouldbelookbetterwhenshotwith50or60frames.Buttheydidnotlethim.

Could you learn from AVATAR?

Iwatcheditrepeatedlyandquicklynoticedthatalthoughthecomputer-animatedavatarsmovedbeautifullyandgracefully-likeIwantedourdancerstomove-butasfortherealpeoplerunningaroundinAVATAR,justlookatthebackground,–youcanhardlysitandwatchthem.Allthemistakeswehadnoticedinourowntestweretheretobeseenaswell.Somebodyhardlymoves,andimmediatelythreeorfourarmsorlegscanbeseen.Movementsaresimplynotroundandsmooth.Youdon’tnoticethistoomuch,becausemostofitiscomputer-generatedandworkswell,andCameroncutsveryfast.Inshort,

theyhadthesameproblemaswedid,buttheycouldcoveritupbetter.However,wewantedandhadtoshoot100%reallife,wehadnocomputerimagestohelpus.Ourdancershadtomoveelegantlyandfluently!Wehadtofirstfindouthowtooutwitthetechnology,sothatmovementslookednaturalagain.

What is the solution to the problem?

Inprincipleonehastorememberthecinema.Thedigitalcamerasmakealotofverysharpindividualframes.Theyprovideaveryprecisereproduction,sothattheblurrinessoftheimage,whichwehavesowonderfullybecomeaccustomedtoonfilm,doesnotexistanymore.Thiscanbeartificiallyre-producedbymotionblur,oryoushootwithadifferentshutter.

Weavoidedlenschangesandbasicallyshotthefilmon2focallengths,butbothofthemquitewide,sotheywouldbothverymuchhavetheangleofournaturalvision.Overall,wetriedtofollowasmuchaspossiblethephysiologyofhumaneyes.

3Disdevelopingfast.InOctober2009,westillshotwithamassivecranethatlookedlikeadinosaurstandinginthemiddleofthetheatreandfillinghalftheauditorium,a“TechnoCrane”,whichcanpenetratefarintothestageandhighupandcancarrytheweightofthecamera-rigwiththemirror...

... two cameras, that stand close together like two eyes, and thus imitate the effect of spatial vision...

Intheoryyes.Thetechnologyisnotyetsodevelopedthatonecouldshootononecamerawithtwolenses,soyouneedtwocameras.Thesecannotstandnexttoeachother,becausetheirhousingandespeciallythehugelensesdonotallowfortheaveragedistanceofsixcentimetersbetweenbotheyes.Sotheymustbeputontopofoneanotherandconnectedbyasemi-transparentmirror.Butthisswallowsplentyoflight.Thewholethingisahugeapparatus,operatedbymanymotors.

The exact opposite to the light-footed dancer...

Aremote-controlledmonster,requiringfivepeopletooperateallfunctions.Nevertheless,wecouldmovethisthingquitesmoothly.Butjustfivemonthslater,

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duringoursecondshootinApril,weshotalmostexclusivelywithaprototypeofaSteadycam.Thecamerahastomovein3D,that’sessential.Ifitremainsstatic,alargepartofthespatialeffectiswasted.Youdonotneedtoperformhugebackandforthmovements.Justslowtrackingshotspayoffwonderfully,becausetheymovethewholeroomandmakeitthespacemoreperceptible.

You stand for the third time at the forefront of technical development. First with HAMMETT, where you tried out Coppola’s electronic studio, then with BUENA VISTA SOCIAL CLUB, your first high-resolution digital film. Is the current technological leap the most radical?

Ohyes!BUENAVISTASOCIALCLUBwasthefirstcompletelydigitaldocumentarythatwentintothecinemas,butformebothaestheticallyandfromaworkingmethoditdidnotproducearadicalupheaval-onlythatthefilmwouldsimplyjustnothavebeenpossibleonfilm.16-or35-mmcamerasstillmakesomuchnoise,thatyoucouldnotrecordacousticmusicinanyrecordingstudiointheworld.Thedigitalcamerashavealsoallowedustoreallyshootaroundtheclock,andwhenwestoppedonceinawhilethemusicianswereverydisappointed:“Whatishappening,don’tyouloveusanymore?”Technologyhasgivenuswings,butitwasnotfundamentallyadifferentwayofworking.

That’s why working with 3D today is a huge leap forward.

Iwasenthusedfromthefirstframeonthatweproduced.Onecouldsaythatthistechniquestartedonthewrongfoot.Atthemomentweonlyknowanimationorcomputer-generatedextravaganzasin3D.Filmsthatwereshotinfrontofrealscenerystillhardlyexist.Ibelievethefutureofthistechnologydoesnotnecessarilyliewhereitisbeingusedatthemoment,infantasyfilms.Itwasthesameinthebeginningofdigitaltechnology:itwasusedinadvertising,atfirstitwascostly,andwasusedforspecialeffectsonexpensiveAmericanfilms,whocouldaffordit.Atthattimenoonewouldhavethoughtthatdigitalcinemawouldultimatelysaveandre-inventdocumentaryfilmmaking.Ithinkitwillbesimilarfor3Dtechnology.Onceithasestablisheditselfwithsmallerandlightercameras–whichisonlyamatteroftime-itwillcreateawholenewapproachforreality-drivenfilms.

Questions and answers from a panel discussion with Wim Wenders, 29 June 2010 at the Media Forum Film - International Film Conference NRW, entitled: “Technology versus Content - 3D as a new opportunity, “ moderated by Hanns-Georg Rodek

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New possibilities with digital 3D technology

Digitaltechnologyallowscompletecontroloftheimagefortheentireproductionprocessofafilm:fromthefilming,tothepost-production,tothescreeningintheaters.Thusdigitaltechnologyhasbeeninstrumentalintherecent3Dboom,overcomingthedifficultiesofanalog3Dformatthatplaguedthepreviouswavesinthe50’sand80’s.Digitalcamerasrunsynchronizedand,likedigitalprojectors,offeranabsolutelystableimage;botharecrucialfortheperceptionof3D.WhenwebeganpreparingPINA,theavailabilityofcomplexequipmentandexperiencedprofessionalswasstilllimited.Luckily,wemettheexperiencedstereographerAlainDerobe,whonotonlyfamiliarizeduswiththemirror-rigshehaddeveloped,butalsoenricheduswithhisknowledgeandenthusiasm.

Preparation of the 3-D shoot

Wepreparedforthefilmingwithaseriesofelaboratetests.Inthesummerof2009,twomonthsbeforethescheduledfilming,wecarriedoutatestshootinWuppertal,involvingthefilmcrewandtheTanztheater´sdancersandteam,employingthesameequipmentwewouldthenuseforthemainshooting.Theaimwastosimulatetheshootingprocessandtotestthereliabilityofthetechnicalsystems.Thesetestshotswerethenpost-producedandscreenedinacinema.Wecarriedoutsmallertestsrightuptothemainshoot,painstakinglyacquiringthecomplexknowledgeof3D.TheTanztheater´stightschedulerestrictedtheshootingschedule;wesimplycouldnotafforderrorsandreshoots.

A complex 3D live system

WimWendersandthe3DSupervisorFrançoisGarnierdevelopedasophisticatedsystemtocontrolthetelescopiccrane,whichwassetupintheaudience.Forthispurposetheydividedthefloorplanofthetheaterspaceintoavirtualcheckerboardandusedaprotractor,whichcorrespondedexactlywiththeviewingangleofthecameralens.Usingvideorecordingsofpreviousperformances,WendersandGarniercouldwriteadetailedschedulenotingpreciselywhereonthequadrantthecamerashouldbepositioned,atanygivenmomentduringtheperformance.Duringrehearsalsandshootings,thedirectorrelatedtheseinstructionsviaradiolinktotheteammembers.

The 3D technology used

Toshootin3Dyouneedtwocamerasmountedeitherside-by-sideorinaso-calledmirror-rig.Inthelatter,camerasarepositionedatanangleof90°.Aone-waymirrorisinstalledinbetweenthem,ata45°angletothetwolinesofsight.Onecamerafilmsthroughthemirror,theotherfilmsitsreflection.ThevariousrigsusedonPINA´ssetwereallprototypes,optimizedbyAlainDerobeforourshoot.ThetwocamerasystemsweusedwerebothmadebySony:largestudiocameras(HDC-1500)foruseonthetelescopiccrane,andsmallermobileunits(HDC-P1)fortheSteadycam.3Dlimitsthechoiceoffocallength;wide-anglelensescausedistortion,whilelongfocallensescreatesasilhouetteeffect.Extensivetestsledustothreelenses:DigiPrimeswithfocallengthsof10mm,14mmand20mm.Sincechangingthelensesina3Drigistime-consuming-andwehadlittletimetospare-thefocallengthforeachsceneneededtobeclearlyestablishedbeforeshootingbegan.

nEW CinEMaTiC TErriTory 3D (parT ii)

3D proDUCEr ErWin M. SCHMiDT TalKS aBoUT THE proDUCTion proCESS

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Onsetweusedaspecial3DTransvideomonitortocalibratetherigsandtocontrolthe3Deffect.Themonitordepictstheoutputofbothleftandrightcamerasassuperimposedanaglyphimages,sothatthepixeloffsetbetweenthetwoimagesisvisible.Inadditiontotheexperienceandcreativityofourstereographyteam,thismonitorwasthemostimportanttool.

Challenges of live recording and 3D outdoor shooting

Werecordedthefourdancepieceslive,duringsold-outperformances.Therefore,wecouldnotinterferewithordisturbthedancersonstage.Yetwewantedthe3Drigascloseaspossibletothem.Theuseofalong,telescopiccranegaveusthispossibility.Ofcourse,thedancershadsomeinitialqualmsaboutagianteyedancingwiththemonthestage,butthissoonevaporated.Wecouldthuscaptureincrediblycloseanddynamicimages,givingtheviewerthesenseofbeingonstagewiththedancers.

3Dlovesdepth-that’swhythesolosofthedancersoutsidethetheatrespaceareaperfectcomplementtothedanceperformancesonstage.ThesespectacularsceneswereshotinstrikinglocationsthroughoutWuppertalanditssurroundingareas:streets,forests,mountainslopes,industriallandscapes,andofcourseontheWuppertalSuspendedMonorail.

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BornasPhilippineBauschin1940inSolingen;underhernicknamePinashewilllaterachieveinternationalreputationwithherTanztheaterbasedinnearbyWuppertal.HerparentsrunaninnaspartofahotelinSolingen,wherePina,likehersiblings,lentahand.Shelearnstoobservepeople;aboveall,whatmovespeopledeepdown.Inherlaterworksmallpiecesofthisearlychildhoodenvironmentseemtoresound:thesoundofmusic,peoplecomingandgoing,tellingoftheirlongingforhappiness.Butalsotheearlyexperienceofwarisreflectedinthepieces,assuddenoutburstsofpanicandfearofananonymousthreat.

FollowingfirstexperiencesatSolingen’schildren’sballet,attheageof14PinaBauschstartedherdancetrainingattheFolkwangHochschuleunderKurtJooss.BeforeandaftertheSecondWorldWar,JoosswasadistinguishedrepresentativeoftheGermanmoderndancemovement,whichhadfreeditselffromtheshacklesofclassicalballet.Inhisteaching,however,hereconciledthefreespiritofdancerevolutionarieswiththeprinciplesofballet.Thisishowtheyoungdancestudentlearnedcreativefreedomaswellasreachingproficiencyinaclearform.Alsoimportantwastheproximitytootherarts,whicharealsotaughtattheFolkwangHochschule:opera,music,drama,sculpture,painting,photography,design,andmore.Thiswhollyopenapproachwillinfluencethechoiceofmethodsinherworkaschoreographer.

In1958shewasawardedtheFolkwang-PriceandarmedwithagrantfromtheGermanAcademicExchangeService,sheleavesforoneyearasaspecialstudentattheJuilliardSchoolofMusictoNewYork.ThecityisaMeccaofdance,whereclassicalballetisbeingreinventedbythelikesofGeorgeBalanchine,aswellasthedevelopmentofmoderndance.PinaBausch’steachersincludeAntonyTudor,JoséLimón,anddancersoftheMarthaGrahamDanceCompany,AlfredoCorvino,andMargaretCraske.Asadancershe

workedwithPaulTaylor,PaulSanasardoandDonyaFeuer.Wheneverpossibleshevisitsshows,absorbingallthetrends.EnthusedbythevarietyofartisticlifeinNewYorksheextendsherstaybyanotheryear;thistimehowevershehastopayforherupkeepherself.AntonyTudorengagesherattheMetropolitanOpera.Theproximitytotheoperaandtherespectformusicaltraditionwillplayapartinherlaterworkaswillherloveforjazz.Thestrictdistinctionbetweenso-called“serious”and“entertaining”musicinGermanywillplaynopartforher.Allmusic,aslongasitinvokesdeepfeelings,hasthesamevalue.

AftertwoyearsKurtJoossasksherreturnbacktoEssen.HehassucceededinrevivingtheFolkwangBallet,laterknownastheFolkwangDanceStudio.PinaBauschdancesolderandnewworksbyJooss,andassistshimwithchoreography.IntheabsenceofsufficientworksfortheFolkwangDanceStudio,shebeginstochoreographherself,developingpiecessuchas“Fragment“or“ImWindderZeit”forwhichshereceivesthefirstprizeattheChoreographicCompetitioninColognein1969.Asaguest,shechoreographsfirstworksforWuppertal,whichareperformedbymembersoftheFolkwangDanceStudio:“AktionenfürTänzer”in1971and“Tannhäuser-Bacchanal“in1972.Forthe1973/74seasonsheishiredbytheWuppertalDirectorArnoWüstenhöferasheadoftheWuppertalBallet,whichshequicklyrenamestheTanztheater.Thename,developedbackinthe1920sbyRudolfvonLaban,isastatement.Itstandsforadisengagementfrommeredanceroutineandacompletefreedominthechoiceandmeansofexpression.

InquicksuccessionPinadevelopsnewgenres.WiththetwoGluckoperas,“IphigeniainTauris”(1974)and“OrpheusandEurydice”(1975)shedevelopsthefirsttwodanceoperas.In“IchbringdichumdieEcke...“(1974),sheentersthetrivialworldofpopmusic,“Comedancewithme”usesoldfolksongs,“Renateemigrates”(both

BioGrapHiESPINA BAUSCH – DANCER, CHOREOGRAPHER

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1977)playswithclichésoftheoperetta.HerchoreographyofIgorStravinsky’s“LeSacreduPrintemps“(1975)wastobecomehermilestone.Thephysicalimmediacyandemotionalimpactofthispiecearetomarkherwork.FromKurtJooss,shehaslearned“honestyandaccuracy”.Thechoreographerunderstandshowtotakeadvantageofbothvirtuesforadramaticenergy,whichwasunknownuntilthen.DuringthefirstyearsinWuppertalthisleadstoupsettingthepressandpublic.Theconfrontationwiththetruemotivesbehindmovementhurts.Thesadnessandlonelinessin“Bluebeard-WhenlisteningtoataperecordingofBelaBartok’soperaDukeBluebeard’sCastle‘”(1977),inwhichpassagesofmusicarerepeatedagainandagain,whichmanyfeelastorture.Butfromthebeginning,PinaBauschdisplaysnexttohertalentfordramaalsohumor,asintheBrecht/Weilldouble-bill“TheSevenDeadlySins”and“Donotbeafraid”from1976.Inthesecondpart,collagedfreelytogetherandshowingmeninwomen’sclothesasthechoreographerplayswithentrenchedstereotypes,isbothentertainingandamusing.

In1978PinaBauschchangedthewaysheworked.InvitedbydirectorPeterZadekinBochumtodevelopherversionofShakespeare’sMacbeth,thechoreographerfindsherselfcaughtout.Alargeproportionofherownensemblenolongerwanttocontinuewithherwork,asthereislittleconventionaldancinginvolvedinit.SoshecaststheBochumproductionwithonlyfourdancers,fiveactorsandasinger.Assheisunabletousechoreographedstepswiththiscast,shebeginstoaskherperformersassociativequestionsonthesubjectofthepiece.Whentheresultofthisjointsearchispremieredon22April1978inBochum,underthelongtitle“Hetakesherbythehandandleadsherintothecastle,followedbytheothers”,itisalmostdrownedunderthestormofprotestfromtheaudience.However,inusingthisunusualmove,PinaBauschhasfinallyfoundashapeforherwork,withitsdreamlike,poeticimagesandlanguageofmovementbeingthereasonfortherapidonsetofglobalsuccess.Startingwiththebasichumanemotions,withthefearsandneedsaswellasthewishesanddesires,theWuppertalTanztheaternotonlyisunderstoodworldwide,butalsotriggersaninternationalchoreographicrevolution.ThesecretofthissuccessmaybethattheTanztheaterofPinaBauschrisksafreshlookatrealityandatthesametimefordaydreaming.Ittakestheaudiencein

theireverydaylifeseriouslyandequallyencouragestheirhopethateverythingwillturnoutwell.Fortheirparttheyarecalledupontotakeresponsibilitythemselves.AllthemenandwomeninPinaBausch’spiecescandoistestwithutmostaccuracyandhonestywhatbringseachclosertohappinessandwhatpushesthemawayfromit;patentedremediesarenotprovided.Buttheyalwayssendhometheiraudiencesintheknowledgethat-withallitsupsanddowns-lifecanbesurvived.

InJanuary1980,PinaBausch’slongtimelifepartnerRolfBorzikdied.IntheearlyyearshisstagedesignsandcostumessignificantlyinfluencedtheappearanceoftheTanztheater.Followinghisdeath,PeterPabst(stage)andMarionCito(costumes)tookoverhiswork.Thecreatedspacesarepoetic,oftenmovingtheoutsideinsideandthestageexpandedintoalandscape.Thesearephysicalspaces,whicharechangingmovements.Waterandrainletthebodiesshinethroughtheclothes;soilturnseverymovementintoaHerculeantask,leavestracethestepsofthedancers.ThevariationofthespacesrangesfromperiodroomstothebarewoodenfloorboardsofJapaneseminimalism.Thecostumescanbeaselegantastheyarebizarre-fromagreateveninggowntothechild’sdelightindisguise.Justlikethepieces,thestageandcostumesreflecteverydaylifeandbeyond,butalwaysinthedirectionofawonderfulbeautyandease.Whatininfancyisoftenoverlooked:thehumorandbeauty,evenifitliesintheseeminglyugly,isunderstoodbetterthepassingoftheyears.GraduallywhatitisabouttheTanztheateritbecomesclear:notaprovocationbutinPinaBausch’swords-“aspacewherewecanmeeteachother.“

TheinternationaldevelopmentoftheTanztheaterresultedinnumerousco-productions:“Viktor”,“PalermoPalermo”and“ODido”incooperationwithItaly,“DanceEveningII(TanzabendII)”inMadrid,“Atragedy(EinTrauerspiel)”inVienna,“OnlyYou(NurDu)”inLosAngeles,“TheWindowCleaner(DerFensterputzer)”inHongKong,“MasurcaFogo”inLisbon,“Meadows(Wiesenland)”inBudapest,“Água”inBrazil,“NefésinIstanbul,”TenChi”inTokyo,”RoughCut”inSeoul,”BambooBlues“inIndia,andlastlyanewpiece2009,aco-productionwithChile,forwhichPinaBauschwillnolongerbeabletogiveatitle.Thework,whichatfirstwassocontroversial,hasfinallydeveloped

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intoaworldtheatre,whichcanholdalltheculturalcolorsandtreatseveryonewiththesamerespect.Itisnotatheatrethatwantstoteach,butonethatwantstocreateafundamentalexperienceoflifethateveryviewerisinvitedtosharewiththedancers.Thisworldtheatreisgenerous,relaxedinitsperceptionoftheworld,andverycharmingtoitsaudience.Itofferstomakepeacewithlifeandtrustsinitsowncourageandownstrength.Asamediatorbetweencultures,itisanambassadorofpeaceandmutualunderstanding.Itisatheatrethatkeepsitselffreeofanyideologyanddogma,whichlooksattheworldasprejudice-freeaspossibleandtakesnoteoflife-inallitsfacets.Fromthediscoveriesofthatjourney,whichbeginsanewwitheachpiece,fromthemanysmallscenesand–moreandmorewitheachpassingyear-aworldofgreatcomplexity,fullofsurprisingtwistsaddsitselftothedances.TheTanztheaterWuppertalfeelsobligedtoonlyoneprinciple:thepeopleandthusahumanismthatknowsnoboundaries.

ForherworkPinaBauschreceivesnumerousawardsandhonours,includingtheBessieAwardinNewYork(1984),theGermanDanceAward(1995),theBerlinTheatreAward(1997),thePraemiumImperialeinJapan(1999),theNijinskyAwardinMonteCarlo,theGoldenMaskinMoscow(2005),theGoethePrizeofFrankfurt/Main(2008).InJune2007,sheispresentedwithaGoldenLionattheVeniceBiennaleforherlife’swork,andinNovemberofsameyeartheprestigiousKyotoPrize.TheGermanGovernmenthonorsherwiththeGreatCrossofMerit(1997),theFrenchwiththetitleCommandeurdel’OrdredesArtsetdeLettres(1991)andKnightoftheLegionofHonour(2003).Manyuniversitiesgiveheranhonorarydoctorate.

On30June2009PinaBausch’slifejourneyends.Herworkshowsherasoneofthemostimportantchoreographersofthe20thCentury.

1973FRITZAneveningofdancebyPinaBauschMusic:GustavMahler,WolfgangHufschmidtThisprogramwascompletedby“TheGreenTable“choreographyKurtJoossand“Rodeo“choreographyAgnèsdeMille

IPHIGENIE AUF TAURIS (IPHIGENIA IN TAURIS)DanceoperabyPinaBauschMusic:ChristophW.Gluck

1974ICH BRING DICH UM DIE ECKE (I’LL DO YOU IN)PopmusicballetbyPinaBausch

ADAGIO – FIVE SONGS BY GUSTAV MAHLERbyPinaBausch

1975ORPHEUS AND EURYDIKEDanceoperabyPinaBauschMusic:ChristophW.Gluck

FRÜHLINGSOPFERWIND VON WESTDER ZWEITE FRÜHLINGLE SACRE DU PRINTEMPS (THE RITE OF SPRING)byPinaBauschMusic:IgorStravinsky

1976DIE SIEBEN TODSÜNDEN (THE SEVEN DEADLY SINS)TheSevenDeadlySinsOfThePettyBourgeoisieDon’tBeAfraidAneveningofdancebyPinaBauschMusic:KurtWeillText:BertoltBrecht

1977BLAUBART – BEIM ANHÖREN EINER TONBANDAUFNAHME VON BÉLA BARTÓKS “HERZOG BLAUBARTS BURG“(BLUEBEARD – WHILE LISTENING TO A TAPED RECORDING OF BELA BARTOK’S “DUKE BLUEBEARD’S CASTLE”)ApiecebyPinaBausch

WorKS By pina BaUSCH

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KOMM TANZ MIT MIR (COME DANCE WITH ME)ApiecebyPinaBausch

RENATE WANDERT AUS (RENATE EMIGRATES)OperettabyPinaBausch

1978ER NIMMT SIE AN DER HAND UND FÜHRT SIE IN DAS SCHLOSS, DIE ANDEREN FOLGEN...(HE TAKES HER BY THE HAND AND LEADS HER INTO THE CASTLE, THE OTHERS FOLOW…)ApiecebyPinaBausch,IncoproductionwithSchauspielhausBochum

CAFÉ MÜLLERApiecebyPinaBausch

KONTAKTHOFApiecebyPinaBausch

1979ARIEN (ARIAS)ApiecebyPinaBausch

KEUSCHHEITSLEGENDE (LEGEND OF CHASTITY)ApiecebyPinaBausch

19801980 ApiecebyPinaBausch

1981BANDONEONApiecebyPinaBausch

1982WALZERApiecebyPinaBauschIncoproductionwith“Holland-Festival“

NELKEN (CARNATIONS)ApiecebyPinaBausch

1984AUF DEM GEBIRGE HAT MAN EIN GESCHREI GEHÖRT (ON THE MOUNTAIN A CRY WAS HEARD)ApiecebyPinaBausch

1985TWO CIGARETTES IN THE DARKApiecebyPinaBausch

1986VIKTORApiecebyPinaBauschIncoproductionwithTeatroArgentina,Rome

1987AHNENApiecebyPinaBausch

1989PALERMO PALERMOApiecebyPinaBauschIncoproductionwithTeatroBiondoPalermoandAndresNeumannInternational

1990DIE KLAGE DER KAISERINFilmbyPinaBausch

1991TANZABEND IIApiecebyPinaBauschIncoproductionwithFestivaldeOtoño,Madrid

1993DAS STÜCK MIT DEM SCHIFF(THE PIECE WITH THE SHIP)ApiecebyPinaBausch

1994EIN TRAUERSPIELApiecebyPinaBauschIncoproductionwiththeWienerFestwochen

1995DANZÓNApiecebyPinaBausch

1996NUR DU (ONLY YOU)ApiecebyPinaBauschIncoproductionwiththeUniversityofCaliforniainLosAngeles,theArizonaStateUniversity,theUniversityofCaliforniainBerkley,theUniversityofTexasinAustinandDarleneNeelPresentationsandRenaShaganAssociates,Inc.andTheMusicCenterInc.

1997DER FENSTERPUTZER (THE WINDOW CLEANER)ApiecebyPinaBauschIncoproductionwiththeHongKongArtsFestivalSocietyandGoetheInstitutHongKong

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1998MASURCA FOGOApiecebyPinaBauschIncoproductionwiththeEXPO98LisbonandtheGoetheInstitutLisbon

1999O DIDOApiecebyPinaBauschIncoproductionwiththeTeatroArgentinainRomandAndresNeumannInternational

2000KONTAKTHOFWithladiesandgentlemenfromage“65“ApiecebyPinaBausch

WIESENLANDApiecebyPinaBauschIncoproductionwiththeGoetheInstitutBudapestandtheThéâtredelaVilleParis

2001ÁGUAApiecebyPinaBauschIncoproductionwithBrazil,theGoetheInstitutSaoPaolo,andEmilioKalil

2002FÜR DIE KINDER VON GESTERN, HEUTE UND MORGEN(FOR THE CHILDREN OF YESTERDAY, TODAY AND TOMORROW)ApiecebyPinaBausch

2003NEFÉSApiecebyPinaBauschIncoproductionwiththeInternationalIstanbulTheatreFestivalandtheIstanbulFoundationofCultureandArts

2004TEN CHIApiecebyPinaBauschIncoproductionwithSaitamaPrefecture,SaitamaArtsFoundation,Japan,andNipponCulturalCenter

2005ROUGH CUTApiecebyPinaBauschIncoproductionwithLGArtsCenterandtheGoetheInstitutSeoul,Korea

2006VOLLMOND (FULL MOON)ApiecebyPinaBausch

2007BAMBOO BLUESApiecebyPinaBauschIncoproductionwiththeGoetheInstitutesinIndia

2008SWEET MAMBOApiecebyPinaBausch

KONTAKTHOFWithTeenagersfromage14ApiecebyPinaBausch

2009“...COMO EL MUSGUITO EN LA PIEDRA,AY SI, SI, SI ...“IncoproductionwithFestivalInternacionaldeTeatroSantiagoaMilinChileandwiththesupportofGoethe-InstitutChile.

For a list of awards and honors for Pina Bausch, visit the websitewww.pina-bausch.de/pina_bausch/ehrungen.php

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WimWendersranksamongtheimportantdirectorsofworldcinemaandisoneoftheleadingrepresentativesof“NewGermanFilm.”Undeterredbyfleetingtrendsandbigstudiooffershehasstucktohisgunsandkepthiseagernesstoexperiment.

BorninDüsseldorfon14August1945,hestartedtakingphotographsattheageof7,ownedhisowndarkroomat12andat17hisfirstLeica.Hestudiedmedicineandphilosophybeforesettlingin1966asapainterandengraverinMontparnasse,Paris.Inhissparetime,hewatchedallthemoviesthatwereshowingattheCinémathèque,includingmanyGermanclassics.Helaidthefoundationforhiscareerasafilmmakerin1967,whenheenrolledatthenewlyfounded“AcademyofFilmandTelevision”inMunich.Inthelate60shemadeseveralshortfilms,whichwereinfluencedbytheso-called“NewAmericanUnderground”inthestyleofWarhol:longscenes,uneventfulandwithanopennarrative.Hisfeaturefilmdebutwasin1970withhisgraduationfilm,theblackandwhitefilmSUMMERINTHECITY.

WimWenderswasoneofthe15directorsandwriterswhoin1971foundedtheFilmVerlagderAutorentohandleproduction,rightsanddistributionoftheirfilms,bothtogetherandindependently.HisprofessionalcareerasadirectorbeganthatyearwiththefilmadaptationofPeterHandke’snovelTHEGOALKEEPER’SFEAROFTHEPENALTYforwhichhewasawardedthePrizeoftheInternationalFilmCriticsinVenice.

InALICEINTHECITIES(1973),THEWRONGMOVE(1974)andKINGSOFTHEROAD(1975)WimWendersturnstocharacterswhohavetodealwiththeirlackofrootsinpost-warGermanyandisawardedseveralGermanandinternationalfilmprizes.Thesethreefilms,aswellasthethrillerTHEAMERICANFRIEND(1977,byPatriciaHighsmith)withDennisHopperandBrunoGanzintheleadroles,grappledwiththerapidchangeofhisowncountry.WimWenders‘extraordinaryloveforthecinemaandrockn‘roll,coupledwiththe

affectionatecuriosityoftheobservertotheworldthatsurroundsus,runstothisdaythroughtheentiretyofhiswork.THEAMERICANFRIENDmakeshimknownintheU.S.,resultinginhisnextprojectwithFrancisFordCoppolawhoin1978invitedWenderstotheU.S.HestartedtoworkonHAMMETTforZoetropeStudios.ThemoviewasmeanttobeatributetotheAmericancrimewriterDashiellHammett,butthelengthyartisticdisputesmeantthatthefilmwasnotfinisheduntil1982.TheconflictsthatWimWendershadtoendureduringthedifficultproductionprocess,heworkedoutinSTATEOFTHINGS(1982),asomberreflectiononfilmmaking.ForthisfilmWendersreceivestheGoldenLionforBestFilmattheVeniceFilmFestival.

TogetherwithSamShepardhediscoveredhisnextstoryintheTexasdesert:aspeechlessman,apparentlywithoutmemory,searchesforalinktohispast.WiththeroadmoviePARIS,TEXAS(withNastassjaKinskiandHarryDeanStanton),thedirectorwon,amongstothers,the1984GoldenPalmatCannesandtheBestDirectorawardoftheBritishAcademyofFilmandTelevisionArts.

InthedividedBerlin,in1987,theangelsofthecitygavehimthefilmWINGSOFDESIRE.ThecinematicfairytalewithBrunoGanzasanangel,whofortheloveofawomangivesuphisimmortality,continueshispreviousworldwidesuccess.InCannes,hewontheawardforBestDirector,aswellastheEuropeanFilmAwardandtheGermanFilmPrize.In1990Wendersrealizeshisambitioussciencefictionproject,whichhadbeeninplanningfor12years:UNTILTHEENDOFTHEWORLD.Thefilmcostwellover$20millionandwasfilmedaroundtheworldonfourcontinents.Butforcedbydistributioncontracts,Wendershastoreleasethefilminashortenedversion.Hisown“Director’sCut”willnotbereleasedforanother12years.

WithBrunoGanz,OttoSander,PeterFalkandotherstars,in1993WendersfilmedinreunifiedBerlinthecontinuationofhis

WIM WENDERSWriTEr, DirECTor, proDUCEr

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angelstory:FARAWAY,SOCLOSE!ThiswasfollowedbyasecondlongstayinAmerica,whichbeganin1996withTHEENDOFVIOLENCE.In2000WendersdirectedinLosAngelesatragic-comicstorybyU2singerBono.WithTHEMILLIONDOLLARHOTELWenderscreatedastoryoffriendship,betrayalandtheoverwhelmingpowerofunconditionallove.AttheBerlinalehewashonoredwiththeSilverBear.

ThroughouthiscareerWendersshotanumberofunconventionaldocumentaries,includingLIGHTNINGOVERWATER(1980),amovingportrayalaboutandwithNicholasRay,followedbyTOKYO-GA(1985),atributetotheJapanesedirectorYasujiroOzuwhosefilm“TokyoStory”hashadalastinginfluenceonWenders,andNOTEBOOKONCITIESANDCLOTHES(1989),anexplorationoftheworkoftheavant-gardefashiondesignerYohjiYamamoto.HealsodirectedseveralmusicvideosandtheconcertfilmWILLIENELSONATTEATRO(1998).

Withoutdoubt,hisbest-knownobservationofmusicandmusiciansisthedocumentaryBUENAVISTASOCIALCLUB(1999).InthislovingportraitRyCooderrediscoversCubanmusicians,amongthemIbrahimFerrer,RubenGonzalesandCompanySegundo.ThefilmevenreceivedanOscarnomination.THESOULOFAMAN,afilmabouthisbluesheroesBlindWillieJohnson,JBLenoirandSkipJames,followed.In2002WendersmadeafilmabouthisfriendWolfgangNiedeckenandhisColognebandODETOCOLOGNE–AROCK‘N’ROLLFILM.Thelong-standingfriendshipwiththeDüsseldorfband“DieTotenHosen”eventuallyleadstothefeaturefilmPALERMOSHOOTING,withCampinoandDennisHopperintheleadroles.In2008heiswiththisfilmincompetitionfortheninthtimeattheCannesFilmFestival.

In1987hepublishedhisfirstbook,“WrittenintheWest”,withphotographsfromtheAmericanWest.Todate,numerousotherbooksfollowed,includingessays,photobooksandaccompanyingpublicationsforhisfilmsandexhibitions,includingthebook“PicturesfromtheSurfaceoftheEarth”.Museumsandgalleriesaroundtheworldhaveshownhisphotographsinsoloexhibitions.

Inthe1990sWimWendersbecamefirstchairmanandlaterpresidentoftheEuropeanFilmAcademy.Since2003heteachesasaprofessorattheCollegeofFineArtsinHamburg.HereceivedhonorarydoctoratesfromtheFacultédesArtsetdesLettresofSorbonne,Paris;thetheologicalfacultyoftheUniversityofFribourginSwitzerland;theUniversitéCatholiquedeLouvaininFrance;andtheFacultyofArchitectureattheUniversityofCatania.In2006,WenderswasthefirstfilmmakeroftheOrder“PourleMérite”.Heliveswithhiswife,photographerDonataWenders,inBerlinandhashisownproductioncompany“NeueRoadMovies“.

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1967 Schauplätze

1967 SamePlayerShootsAgain

1968 SilverCity

1968 Polizeifilm

1969 Alabama:2000LightYearsFrom Home

1969 3AmericanLP’s

1974 AusderFamiliederPanzerechsen/ DieInsel

1982 ReverseAngle

1982 Chambre666(Room666)

1992 Arisha,theBearandStoneRing

2002 TwelveMilestoTrona (TenMinutesOlder–TheTrumpet)

2007 LosInvisibles:InvisibleCrimes

2007 WarinPeace

2008 PersontoPerson(“8”–Compilation)

2009 IlVolo(3D)

2010 IfBuildingsCouldTalk (3Dvideoinstallation)

FilMoGrapHy WiM WEnDErSSHorTS

1970 SUMMERINTHECITY (dedicatedtotheKinks)

1971 THEGOALKEEPER’SFEAROFTHE PENALTY

1972 THESCARLETLETTER

1973 ALICEINTHECITIES

1975 THEWRONGMOVE

1976 KINGSOFTHEROAD

THEAMERICANFRIEND

1980 LIGHTNINGOVERWATER

1982 HAMMETT

1982 THESTATEOFTHINGS

1984 PARIS,TEXAS

1985 TOKYO-GA

1987 WINGSOFDESIRE

1989 NOTEBOOKONCITIESAND CLOTHES

1991 UNTILTHEENDOFTHEWORLD

1993 FARAWAY,SOCLOSE!

1994 LISBONSTORY

1995 BEYONDTHECLOUDS (withM.Antonioni)

1996 ATRICKOFTHELIGHT (theBrothersSkladanowsky)

1997 THEENDOFVIOLENCE

1998 BUENAVISTASOCIALCLUB

1989 WILLIENELSONATTHETEATRO

2000 THEMILLIONDOLLARHOTEL

2002 ODETOCOLOGNE:AROCK‘N’ ROLLFILM

2003 THESOULOFAMAN (partfourofTheBluesSeries)

2003 LANDOFPLENTY

2004 DON’TCOMEKNOCKING

2008 PALERMOSHOOTING

2011 PINA(3D)

FEaTUrES and DoCUMEnTariES

For a list of awards and honors for Wim Wenders, visit the websitewww.wim-wenders.com/bio/awards.htm

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Gian-PieroRingelstudiedpsychologyandbusinessadministrationattheFreeUniversityofBerlin.Whilstatuniversityheworkedasaproductionassistantandproductionmanageronvariousfilmproductions.From2002to2006,RingelcontinuedhisstudiesattheGermanFilmandTelevisionAcademy(dffb)concentratingonProduction.Whilestillastudenthefoundedhisowncompany,RINGELFilmProduktionin2004.In2006heproducedtheshortfilmTHEMEASUREOFTHINGS,directedbySvenBohse,whichwasnominatedforthe33rdAnnualStudentAcademyAwardbytheAcademyofMotionPictureArtsandSciences.Thatsameyear,RingeltogetherwithAngelaSchanelec

(writer,director,producer)producedhisfirstfeaturefilmAFTERNOON.Ithaditsworldpremierein2007attheForumoftheBerlinale.TogetherwithWimWendersRingelthenproducedhisfirstinternationalproductionPALERMOSHOOTING,whichwasselectedfortheofficialcompetitionoftheCannesFilmFestival2008.In2009followedAngelaSchanelec’snewfeaturefilmORLY,whichpremieredintheBerlinaleForum,andinthesameyearwasawarded“BestFilm”attheFestivalofGermanFilmsinLudwigshafen.Today,Gian-PieroRingel,togetherwithWimWenders,isjointmanagingpartnerofNeueRoadMoviesGmbHandproducerofthe3DdancemoviePINA.

GIAN-PIERO RINGEL – proDUCEr

PeterPabstisusedtocrossingboundaries.Since1979hehasbeenafreelancingsetandcostumedesignerintheatre,opera,dance,filmandtelevision,anduptonowhascreatedstagesetsandcostumesformorethan100theatreandfilmproductions,includingtheRockShow“DröhnlandSymphony“,theexhibition“Spaces-Dreams“attheMuseumBochum,thebook“PETERforPINA”,andhastaughtinBeijingandShanghai.HisworkhastakenhimtoalmostallmajorEuropeancities,toAmerica,andAsia.HehasworkedwithLucBondy,KlausMariaBrandauer,UdoLindenberg,JohnSchaaf,IstvanSzabo,JürgenFlimm,RobertCarsen,ChenShiZheng,TancredDorst,AndreiSerbanandmanyothers.Buthismainworkingpartners

havebeenPeterZadek,withwhomhehasalongworkingrelationshipandpersonalfriendship,andaboveall,PinaBauschandherTanztheaterWuppertal.In1980hedesignedhisfirstsetforapiecebyPinaBausch.Thiswasthebeginningofanexceptionallycloseartisticandpersonalrelationship,asymbioticcollaborationthatlasteduntilthedeathofthegreatchoreographerin2009.Duringtheseyears,PeterPabstdesignedandrealised25“play-rooms”forPinaBausch,including“VOLLMOND(FullMoon)”.PeterPabsthasbeenawardedtheKainzMedaloftheCityofVienna,hasbeenappointedChevalierdesArtsetdesLettresinFrance,andawardedthetitleofProfessorbytheMinisterPresidentofNRW.

PETER PABST – arT DirECTor

Bornin1950intheDordogne,DominiqueMercydiscoveredhislovefordanceasateenager.HewasjustfifteenyearsoldwhenheenteredthecompanyoftheGrandThéâtredeBordeaux.Afterthreeyears,hejoinedtheBalletTheatreContemporaininAmiens,wherethedirectorwaslookingforaconnectionbetweendance,visualartandmusic–asimilarconceptasattheFolkwangHochschuleinEssen,wheretheyoungPinaBauschhadbeentrained.DominiqueMercyandPinaBauschmetin1971attheSaratogaSummerFestivalintheU.S.,wherethedancerwasteaching.Forthe1973/74seasonshehiredhimforhernewly

establishedballetinWuppertal,whichshesoonnamedTanztheater.Sincethen,MercyhasbeenconnectedtotheWuppertalTanztheater.Helefttheensembleseveraltimesinordertoundertakehisownprojects,andamongotherthings,heandthedancerMalouAiraudofoundedtheirownensemble.Mercy,however,keptcomingbacktoWuppertal.AfterthedeathofPinaBausch,DominiqueMercytogetherwithRobertSturm,theAssistantDirectorofthechoreographer,tookovertheartisticdirectionofTanztheaterWuppertalPinaBausch.

DOMINIQUE MERCY – arTiSTiC ConSUlTanT

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ThebeginningofhisprofessionalworkinthetheatreinitiallyledRobertSturmtoHungary.Thereheworkedfrom1993,firstasassistantdirectoranddramatistatthenewlyformedBudapestArtTheatreandthenattheThaliaTheatre.From1997hebegantomakehisownstageproductions,attheSzigligetiTheatreinSzolnokandattheChamberTheatreandattheNewTheatreinBudapest.Twoyearslater,theNationalTheatreInstituteinBudapestaskedhimtoassistPinaBauschandher

dancersduringtheirresearchfortheirHungarian-piece“Wiesenland”.ThiswasfollowedbytheofferofPinaBauschtoaccompanytherehearsalsofthepieceinWuppertal.Startingin2000,hewashiredasherartisticassistantattheTanztheaterWuppertal.AfterthesuddendeathofPinaBausch,RobertSturm,togetherwiththedancerDominiqueMercy,tookontheroleofartisticleadershipoftheTanztheaterWuppertalPinaBausch.

ROBERT STURM– artistic Consultant

Since1980,MarionCitohasbeendesigningthecostumesfortheensembleofTanztheaterWuppertal.OriginallyfromBerlinandadancerherself,sheknowswhatthecostumeshavetoendureduringthedancesfrompersonalexperience.AsaprincipaldancerattheDeutscheOper,sheworkedwiththechoreographerTatjanaGsovsky.ShealsoappearedinproductionsbyGeorgeBalanchine,AntonyTudorandJohnCranko.In1976MarionCitojoinedtheTanztheaterWuppertal.Forhealthreasonsshedidnotwantcontinuetodance,butconcentrateonworkasanassistant.

However,PinaBauschconvincedhertotakepartasadancerinpiecessuchas“Blaubart–beimAnhöreneinerTonbandaufnahmevonBélaBartok’sOper‚HerzogBlaubartsBurg’“,“Komm–tanzmitmir“,“Renatewandertaus“and”Arien“IncooperationwithPinaBausch’scostumeandsetdesignerRolfBorzik,MarionCitodiscoveredherpassionforcostumes.Whenhediedin1980,PinaBauschaskedhertotakeonthecostumedepartment.MarionCitotookoverthenewroleasdesigner,andafewmonthslaterthefirstproductionwithhercostumes“1980-ApiecebyPinaBausch”premiered.

MARION CITO – Costumes

RolfBorzikwasbornin1944inPosenanddiedin1980inEssen.HestudiedgraphicartanddesignattheFolkwangHochschule,wherehemetdancerandchoreographerPinaBausch.From1973untilhisuntimelydeath,hedesignedthesetsandcostumesfortheTanztheaterWuppertalandthusdecisivelyshapeditsface.Borzikdesignedextraordinarysetsandclothes:aspoeticascontemporaryanddeeplyrootedinlife

itself.Hekeptplayingwithnaturalelements(water,earth,etc.),hiscostumesseemfromeverydaylifeandareatonceelegantandopulent.Throughhiswork,heopenedanentirelynewperspectiveondancespaceandclothing,astyleiconfarbeyondhisdeath.ThesetsandcostumesfortherecordedpiecesinPINA“LeSacreduPrintemps”,“CaféMüller”and“Kontakthof”aredesignsbyRolfBorzik.

ROLF BORZIK – Set and Costume Design until 1980

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From1966to1990AlainDerobeworkedasacameramanandwasinvolvedinmorethan20featuresandnumerouscommercials.From1992on,hespecialisedinthree-dimensionalphotographyandlargeformatcinema.Hedevelopedvarioussystemsthatarerequiredforstereoscopicrecordings(suchasthe3DRigbyP&STechnik).AlainDerobeisthefounderoftheAFC(AssociationofFrenchCameramen)andPresidentofUP3D,theAssociationofFrenchStereographers.AsastereographerhewasinvolvedinmanyFrench3D

films,includingSAFARI3D,CAMARGUE,CHARTREUX,IRRUPTION,HÉROSDENIMES,RÉVEILDESGÉANTS,aswellasfilmsforthemeparks,museumsandevents.Today,AlainDerobe,isoneoftheEuropeanpioneersofthe3Dcinema,primarilyactiveasastereographer.Additionally,healsoadvisesvariouscompaniesinthe3Dfield,suchasTransvideo(monitors)orIridas(software).

ALAIN DEROBE – STErEoGrapHEr

Since1989HélèneLouvarthasworkedasacinematographer,bothinfeaturesanddocumentaries.Since1989,shewasbehindthecameraonmorethan17documentariesand40featurefilms.HerfirstinternationalsuccesscameatthesideofdirectorSandrineVeyssetin1996withthefilmWILLITSNOWFORCHRISTMAS?Thefilmreceived,amongothers,theFIPRESCIPrizeattheViennale1996andtheSpecialJuryPrizeattheParisFilmFestival.HélèneLouvartandSandrineVeyssetcontinued

theirsuccessfulcollaborationduringinthefollowingyears,includingin2000withMARTHA...MARTHA.FordirectorJacquesDoillonLouvartshotthefeaturefilmRAJA,whichwasnominatedfortheGoldenLionattheVeniceFilmFestivalin2004.In2008HélèneLouvartcollaboratedonthememoirsofthedirectorAgnesVarda.Thismovie,calledTHEBEACHESOFAGNES,receivedboththeCésarandtheEtoiled’Or2009inthecategory“BestDocumentary”.

HÉLÈNE LOUVART – CinEMaToGrapHy

FrançoisGarnierisoneofthepioneersofEuropeancomputergraphics.AsoneofthefirstmediadesignersinFrance,heexploredthecreativepossibilitiesofthistechnology.Between1984and1989hedesignedanddevelopednumerousaward-winningproductions.Healsoworkedwithrenownedvideoartistsofexperimentalfilmsandinstallations.In2000,GarnierwasoneofthefoundersoftheAmakStudios.Thiscompanydesignsandproducesfilms,digitalartinstallationsandinteractive

programsformuseums,themeparksandinternationalevents.TheAmakStudiossetthestandardforstereoscopicfilmsandinteractiveinstallationsinreal-timeand3DinEurope.GarnierisalsoaprofessorattheEcoleNationaleSuperieurdesArtsDecoratifsinParis.FrançoisGarnierisinvolvedas3DSupervisorinWimWenders3DdancemoviePINA.

FRANÇOIS GARNIER – 3D SUpErViSor

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From2000to2005ErwinM.SchmidtstudiedproductionattheGermanFilmandTelevisionAcademy(dffb).From2004hewasinvolvedaslineproducerinanumberofinternationalart-housefilms.AmongstthemYOU,THELIVINGbyRoyAndersson(Sweden),DELTAbyKornelMundruczo(Hungary),AngelaSchanelec’sORLYandWOMENWITHOUTMEN,thefirstfeaturefilmoftheTehran-bornartistShirinNeshat.Withher,ErwinSchmidtalsoworkedonvideoinstallationsfromtheseriesWOMENWITHOUTMEN.Since

2008,ErwinSchmidthasbeenworkingforNeueRoadMoviesandas3DProducerforPINA.HealsoproducedWenders3DvideoinstallationIFBUILDINGSCOULDTALK...,whichpremieredinAugust2010attheArchitectureBiennaleinVenice.Inadditiontohisproductionwork,Schmidtcoordinates“CineLinkWorkinProgress”attheSarajevoFilmFestivalinBosnia-Herzegovina.

ERWIN M. SCHMIDT – 3D proDUCEr

Toni(Thomas)FroschhammerworkedasamusicianandmusicproducerforbandslikeEmLoomesorFriskySiscoinhisownrecordingstudio.From2001to2006heworkedasaneditorfortheBerlinpost-productioncompany“FXFactory”andin2002tookonfirstdirectingprojects.In2007Froschhammerwentindependentwiththecompany“Schnittbar”.HeworkedmostlyinadvertisingforVodafone,LBS,RenaultandT-Mobile,butalsoeditedmusicvideosforbandssuchas

Rammstein,DepecheMode,Rosenstolz,andDieFantastischenVier,aswellasshortfilmssuchasDANGLE,KURZFASSENandFROMUPTILLDOWN.In2009hefounded“FroschhammerFilmGmbH”andbeginseditingthe3DdancefilmPINAbyWimWenders.SinceOctober2010hehasworkedwithPepeDanquartonthedocumentaryJOSCHKAFISCHER-DERLETZTEROCK’N’ROLLERDERPOLITIK.

TONI FROSCHHAMMER – Editor

FortwodecadestheECHOAwardwinnerThomHanreichhasbeenworkingasasuccessfulsinger,songwriter,composerandproducer.Hehasreleasedthreealbumswithhisband“Vivid”,andtwosoloalbumsunderhisstagename“Thom”.Theybroughthim,amongotherthings,atop5hitinJapanandanAsiantour.Sincethenhehasworkedworldwideasacomposerandsongwriter.Thomalreadycomposedthesoundtracks

forWimWenders’LANDOFPLENTYandsongsforPALERMOSHOOTING,aswellasthemusicfortheshortfilmWARINPEACE.In2010Thomworkedonhisnewsoloalbum,composedmusicforWenderscontributiontotheBiennalefilmIFBUILDINGSCOULDTALK...abouttheRolexLearningCenterofthearchitectKazujoSejima,andwrotemusicforthe3DdancemoviePINA.HanreichlivesinBerlin.

THOM HANREICH – CoMpoSEr