Original subtitles

Bald ist es wieder Frühling. Gras klein.

Dann kommt der Sommer.

Hohes Gras.

Sonne.

Dann kommt der Herbst.

Die Blätter fallen.

Und dann Winter.

Frühling.

gonna have winter.

Thank you.

Of course, I imagine that there are situations where you can't say anything

anymore. It's really speechless.

It's all just making it conceivable.

Even if I use words, it's not about the words at all.

It's about making something completely certain conceivable.

And I think that's where the dance starts again.

Meeting Pina was like finding a language, finally.

Before, I didn't know how to talk, and then she suddenly gave me a way to

express myself, a vocabulary.

When I began, I was pretty shy.

I still am.

And after many months of rehearsing, she called me and said, you just have to

get crazier.

And that was the only comment in almost 20 years.

its way in.

Bitten.

Heartbeat and drunken incantation.

Moving.

Pina was an artist.

She asked us.

She helped us reflect the colors.

And with these paints she painted the paintings.

Like, for example, the question of the moon.

I tried to convey my body in such a way as to bring it to the Moon.

Kaffee Müller. I also danced with him.

And it's a piece where the eyes are always closed.

Then at some point we did Kaffee Müller again.

And I couldn't find my feeling.

A very certain feeling.

That was so important to me.

And then I suddenly realized that there is a big difference when I have my eyes

closed, whether I look down.

or if I look at it this way.

And that was the whole difference.

So the feeling was totally, all of a sudden it was right again.

It's unbelievable, isn't it? That this is so crucial.

You can see how important it is. All the little things are important.

It's all in the language. You can actually read everything.

I think we did this piece in two weeks, Dominique. By the speed we did it.

It was incredible.

It's incredible that we came up with this idea, this thing. Because there was

chair. There was only the table with the four chairs. It's Pinal, I remember

that very well.

You know, oh, but it's not the same stage. We have to put something, I don't

know. It's so empty.

And then, pof, the chairs.

And then, pof, the Rolf.

who was there and who changed the effect and who became the incredible part of

the piece.

I'm going to give you the next even after this. Come on!

Katsuo Ono is gone too, not long ago.

Often I see them up there, Pina and him, dancing together and jumping from one

cloud to the other.

Pina had the most piercing eyes in the world.

I've never seen anyone who could look at me like that and see through me.

Everything I've always tried to play, it just disappeared under her eyes.

Instead, she saw something I was afraid of, because I didn't know it yet.

Amen.

I don't know why I have this image of a house with a big attic and a lot of

things in it.

When Pina was not planned and she did it because you never remember that she

showed it, we told her, well... Ah, that's it, we know that she dances. But

fact, she did it because you could not remember things.

You always wanted her to be there and that she would... That she would show me

the movements? Of course.

Oh, no, you're exaggerating. Yes, it's true.

Yes, it's true. No, I insisted that she dances. I thought it was important that

she danced. It was the only way to see Pina.

I never, ever wanted to dance Cafe Muller.

When Pina asked me to learn her role, I said yes.

But I didn't learn it.

I wanted her to always dance.

I saw Pina a lot in Cafe Muller.

And I especially tried to feel what was going on inside her.

It was like a hole in her belly when she walked.

Comme si elle était royaume des morts.

Quand je me trouve là, sur scène aujourd 'hui, j 'essaie de me souvenir d 'elle.

Cette peine, en même temps cette force, et cette solitude.

Quante volte ho danzato Cassian Muller insieme a Pina?

Quante volte ho visto i suoi capelli, la sua schiena, le sue braccia?

Quante volte, ad occhi chiusi, l 'ho sentita e sapevo che lei sentiva tutti

Anche chiusi, i suoi occhi potevano vedere tutto.

I'm working with angels. You are an angel, you are beautiful.

country, you know.

It was so nice to be an older dancer at Pina.

Well, the younger years were also nice.

I was 24 when I came to Wuppertal.

But from 40, slowly and more and more, I just thought, so much space, so many

possibilities. The eyes of Pina are there to take everything beautiful we do

make something even more beautiful out of it.

Eine Mission zwischen Alte und Kind zu sein.

After a terrible test of hygiene, Pina didn't say a word to me during the

criticism. Then she came in front of the presentation in my dressing room and

said, as always, Lütjen, do it nicely.

And I answered, as always, Bienchen, have fun.

She went out, turned the door again and said, and don't forget, I have to be

afraid of you.

And it started in my head.

That was actually much more correct than if we had talked about it for three

hours.

Gosto muito de te ver, leãozinho Caminhando sob o sol

Gosto muito de você, leãozinho

Para desentristecer, leãozinho

O meu coração tão só Basta eu encontrar você no caminho

Um filhote de leão

I love

you.

to see you enter the sea your skin, your light, your clothes

Pina was so beautiful to watch when she was watching us. In the rehearsals, I

often used to look over to see her sitting behind that desk and watching us

every day, living every moment with her dancers, sometimes like a little child,

full of all the feelings that we were having.

I often thought, Peter sat behind that table and actually watched me for 22

years. And that was even longer than my parents saw me.

I didn't understand how Pina worked.

She didn't explain it to me either.

I was completely helpless.

At some point I got the feeling that I was pulling myself up to my hair and

getting up again.

You're not the first, you have to forgive.

But my last,

you could be.

What is reality?

What is openness?

What is our responsibility, even when we dance?

Pina encouraged us to stand for what we do, for every step, every gesture,

every move.

Such a fool.

This just won't seem the matter.

The first time I

saw you, I fell in love with

you. The first time.

Thank you.

me querida salvadora

Well, Bohemoth calls us his own, while the Hummels wanders alone.

They both go out to play, on that cold and rainy day. And

Bohemoth sings us his song, while the Hummels wanders alone.

But in the glory of his friends, you can hear the Hummels sing.

Too big for place to go.

Thank you.

Me acuerdo para la pieza Luna Llena que Pina nos preguntó un movimiento

relacionado con alegría.

Alegría o ánimo de movimiento.

Era una linda pregunta.

Inspiraba. Me acuerdo que yo le presenté a Pina un movimiento y con esto Pina

creó una escena en la pieza.

I was

always in the corner,

always behind someone's back when she criticized us.

Maybe because I just had so much respect for her.

Once she caught me. Then she asked me very sadly, Dita, why are you so afraid

me? I didn't do anything.

Actually, she was right.

And gradually I lost my fear.

So,

Oh.

Thank you.

I sometimes said some phrases like, you have to keep looking, but I didn't say

anything else.

Y entonces había que seguir buscando, sin saber muy bien adónde y sin saber si

estabas en la dirección justa.

LUNA DE MARGARITA

Monterey.

I'm sorry.

I'm sorry.

I'm sorry.

You know, as long as you come to visit me, I've had your news from Daphné, who

dreams all the time of you.

It's not the same.

It would be nice if you manifest yourself.

Pina went away so fast, so surprised.

I think that in the end, she leaves everything behind and feels free.

That's why I wanted to offer her this moment of lightness, of a feeling of

weightlessness.

As a daughter of Dominic and Malu, I was the first child in the company.

I grew up in the dance theater.

Life without Pina?

I don't even know what that is.

Once, at the beginning of being in Wuppertal, and I was also very busy with

things, he just said to me, Dance for love.

All of her pieces were about love and pain and beauty and sorrow and

When I had this love affair with the hippopotamus, I was about 28 when I did

that piece.

I even identified her with this big, sweet hippo monster.

I was trying to understand her, figure out why she had to keep working and

working and working and working and always working and working.

In China, the elements were always very important, whether it was sand, earth,

stones, water.

Somehow there were suddenly icebergs and rocks on the stage.

When you dance there, there are resistance.

You have to either go against it, through it or over it.

The way Pina worked allowed all of us to be sad, furious, or to cry, or

to laugh, or to scream.

We could bring out all our qualities.

It was as if Pina was hidden in each and every one of us, or the other way

around, as if we were all a part of her.

you

Two blue eyes of my love.

They have never seen the white world.

Gina was a radical researcher.

She looked deep into our souls.

One topic she kept asking us again and again.

What do we long for?

Where does our longing for?

oh

© transcript Emily Beynon

It was all...

otherwise we are lost.

this memory again.

And stormed its way in, didn't

Our

feet in sunken

incantation

One and two then three Would never work out

loud This

hidden

temple