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Soon it will be spring again.
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Grass sprouting.
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Then comes summer,
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tall grass,
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SUD.
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Then comes autumn,
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leaves dropping;
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and then
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winter.
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Spring
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summer
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autumn
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winter!
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There are situations of course
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that leave you utterly speechless.
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All you can do is hint at things.
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Words, too, can't do more
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than just evoke things.
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That's where dance comes in again.
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Pina was a painter.
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She consistently questioned us.
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That's how we became the paint,
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to color her images.
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For example she'd ask for
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“the moon”?
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I depicted the word with my body
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so that she could see and feel it.
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I danced in “Café Muller” myself.
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We all have our eyes closed.
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When we did a reprise,
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I couldn't get the feeling back,
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a feeling that mattered so much to me.
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All of a sudden I noticed
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that it makes a big difference,
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behind closed lids,
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whether I look down, or like this!
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That made all the difference!
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The right feeling was there immediately.
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Unbelievable how crucial that is!
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The tiniest detail matters!
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It's all a language
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that you can learn to read.
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We developed the piece
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in two weeks, Dominique!
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The speed was unbelievable!
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Amazing how the idea materialized...
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from just a table and four chairs.
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Typical Pina! I remember.
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Then BANG, chairs!
- Exactly.
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Then BANG! Rolf played with the chairs,
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and they became integral to the piece.
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So beautiful!
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1,2...7,8,10. I'm coming!
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Kazuo Ohno also left us
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not too long ago.
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I imagine him and Pina up there
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dancing together...
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leaping from one cloud to another.
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Pina had the most penetrating eyes!
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No one has ever read me that way.
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Everything I tried or pretended to be
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disappeared under her gaze.
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Instead, she saw something
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I was afraid of
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as I didn't know it yet.
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Who was Pina?
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She combined fragility and strength.
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She was also capable of
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endlessly listening and watching,
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and overcoming all her limits.
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So I imagine her like a house
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with a huge attic full of treasures.
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Pina wasn't going to dance.
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You always forgot your moves.
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We refused to do it without her!
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She got involved because you insisted...
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...to show me the moves?
Come off it!
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But it's true!
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I insisted that she dance!
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That was the only way for people
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to see her on stage!
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I never wanted to dance “Cafe Muller.”
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When Pina asked me to dance her part
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I said yes.
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But I never really learned it.
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I wanted her to dance forever.
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I saw her do “Café Muller” so often.
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I wanted to sense what she was feeling.
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She moved
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as if she had a hole in her tummy,
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as if she'd risen from the dead.
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When I'm on stage today,
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I try to imagine Pina
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in her pain,
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but also in her strength
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and her loneliness.
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How often
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did I dance “Café Muller” with Pina,
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and see her hair, back, arms,
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knew, with my eyes shut,
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that she was aware of us all!
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She saw everything,
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even with closed eyes!
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We danced and laughed all the time.
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We were always together
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until four o'clock at night
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to devise something for the next day.
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That was at the beginning of the company.
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We'd meet at Barmen station
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every morning
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for coffee and a sandwich
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and go over the day's work.
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You always felt more than just human
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working with Pina.
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It was good
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being an older dancer with Pina!
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Well, the younger years were good, too.
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I was 24 when I came to Wuppertal.
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But at 40, more and more,
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I thought
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All this space, all these opportunities!
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Pina's eyes turn everything we do
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into something even more beautiful.
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To be old and a child at the same time.
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After an awful rehearsal of “Iphigenie”
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Pina didn't say a word to me.
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Before the performance,
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she came and said as usual,
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“Luetzchen, be good!”
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And I replied as always,
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“Pinchen, enjoy!”
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She left, turned at the door, and said,
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“Don't forget, you have to scare me!”
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Right away my head started to spin.
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That was more to the point
than talking for hours.
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New in the company, I didn't yet grasp,
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how Pina worked.
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And she didn't explain it.
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I was lost.
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Until I realized
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I had to pull myself up by my own hair.
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This is veal!
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What is honesty?
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What's our responsibility
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even when we dance?
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Pina taught us
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to stand for what we do
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for every gesture,
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every step and every move.
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Pina always wanted to bring out
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the best in all her dancers.
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Once she told me,
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“Your fragility
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is also your strength!”
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01:07:13,255 --> 01:07:14,965
For “Full Moon”
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she requested a gesture related to “joy”
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or to the pleasure of moving.
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The question really inspired me.
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From the movement I presented,
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she created an entire scene.
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I was always in a corner
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or hiding behind someone,
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when she was giving corrections.
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Perhaps because I respected her so much.
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Once she caught me.
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She asked me with a sad voice,
168
01:08:34,545 --> 01:08:36,755
“Ditta, why are you so afraid of me?
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I didn't do anything.”
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She was right.
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01:08:40,926 --> 01:08:43,804
And I gradually lost my shyness.
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Sometimes she said things like,
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“Go on searching!”
174
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But that was all she said.
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It meant you had to keep searching
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without knowing where to look,
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nor whether you were on the right track.
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Pina, I still haven't dreamed about you!
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Please visit me in my dreams.
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I got news from Daphnis,
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who dreams of you all the time.
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It's not the same.
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It would be nice if you showed up!
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I'm waiting, Pina.
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Pina left us so quickly,
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so surprisingly.
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I think that in the end
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she left everything behind
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and was free.
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That's why I wanted to give her
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this moment of lightness,
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this feeling of weightlessness.
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As the daughter of Dominique and Malou
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I was the first child in the company.
195
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I grew up inside the “Tanztheater.”
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Life without Pina?
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I just don't know what it is.
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01:24:12,148 --> 01:24:15,151
When I was new in Wuppertal
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and confused about a few things
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she simply said:
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For Pina,
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the elements were very important.
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Whether sand or soil,
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stones or water...
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Somehow, even
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icebergs and rocks appeared on stage.
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When we dance, they become...
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obstacles.
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You have to go against or through them,
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or climb over them...
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Pina was a radical explorer.
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She looked deep into our souls.
213
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There was one particular subject
she kept asking us about:
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What are we longing for?
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01:33:44,261 --> 01:33:46,889
Where does
all this yearning come from?
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01:33:47,305 --> 01:33:53,521
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