PINA BAUSCH/ DANCE-THEATER Dance – Theater / Tanztheatre

 Vollmund Vollmund

 "The Rite of Spring" (1974) "The Rite of Spring" (1974) The Thrill of the Lynch Mob?

The Rage of a Woman?  Cafe Muller Duet Cafe Muller Duet

Barbara Kruger, Untitled (Your body is a battleground, 1989

 "The Rite of Spring" (1974) "The Rite of Spring" (1974) Pina Bausch: The Thrill of the Lynch Mob?

Michel Foucault ( ) Discipline and Punish (1975), The History of Sexuality (3 vols., ) DISCOURSE is what produces ‘truths’ and ‘facts’. 1.It works by DISCIPLINE – surveillance, control, repression. 1.Discourse analysis (GENEOLOGY) creates a history of the different modes by which, in our culture, human beings are made subjects. 1.The prime place for control is the BODY, which is ‘disciplines’ through the institutions of modern society – sexuality, madness, prison, schools.

Foucault Quote from Discipline and Punishment: “Docile Bodies”  “The human body is more than just biology, it is also directly involved in a political field; power relations have an immediate hold upon it; they invent it, mark it, train it, torture it, force it to carry out tasks, to perform ceremonies...”  Power is only repressive to those who don’t adapt. These “outside bodies” are subjected to therapy and punishment. “Docile bodies” discipline themselves through endless repetition – a command that becomes completely internalized.

Bodies: Disciplines  Can dance and choreography transgress the grip of those powers constraining the body?  Does it only add new technologies of the body that are also repressive or liberating?

Pina Bausch: The Rage of a Woman?  Cafe Muller Duet Cafe Muller Duet

Feminism and Performance  The feminist movement of the 60s and 70s changed the trajectory of art in a way few if any other movement did.  Lucy R. Lippard: Feminism was not a style nor a movement in art, “it was a value system, a revolutionary strategy, a way of life, like Dada” or Futurism and has “continued to pervade all movements ever since.”  Feminism in art/performance history helped to initiate post-modernism in America.

Body and Gender  Sex= biologically determined.  Gender = culturally determined.  Recent studies have shown it is not this simple.

Judith Butler ( ) Butler radically moves the idea of performance from the context of the arts to every day life:  Gender is ‘maintained’ (successfully or unsuccessfully) through the repetition of performance.  Femininity is always a performance. It is performative.  The identities we perform shift in relation to context. “Gender ought not to be construed as a stable identity or locus of agency from which various acts follow; rather, gender is an identity tenuously constituted in time, instituted in an exterior space through a stylized repetition of acts.” from Bodily Inscriptions, Performative Subversions (1990) “Gender ought not to be construed as a stable identity or locus of agency from which various acts follow; rather, gender is an identity tenuously constituted in time, instituted in an exterior space through a stylized repetition of acts.” from Bodily Inscriptions, Performative Subversions (1990)

 Rosas danst Rosas – gestural Rosas danst Rosas – gestural  Rosas danst Rosas - chairs Rosas danst Rosas - chairs Anne Teresa De Keersmaeker

Beyond the Docile Body According to Ramsay Burt, what is at stake for Yvonne Rainer, Pina Bausch and De Keersmaeker is:  The extent to which experimental performance practices resist the way “Western theater erases the body”—or in Foucault’s terms, the process of history’s destruction and disciplining of the body.  By allowing new kinds of bodies and presences to emerge and new ways of experiencing dance and performance.

The body as a site of resistance Janet Wolf :“Since the body is clearly marginalized in Western culture, it might appear that dance is an inherently subversive activity.”

Loie Fuller

Isadora Duncan

Dada/Audruckstanz- Valeska Gert

Ausdruckstanz: Mary Wigman

Martha Graham

1968: Yvonne Rainer, Trio A “My body is my enduring reality.” Attempting to subvert the spectators voyeuuristic gaze.

Pina Bausch

Marie Chouinard

L'après-midi d'un faune Vaslav Nijinsky (1912) & Chouinard (1987)

The Gutai Movement (Japan)

Shigeko Kubota performing Vagina Painting,1965

Cut Piece (1964)

Marina Abramovic & Ulay

Art/Life One Year Performance (Rope Piece) Tehching Hsieh & Linda Montano

“Leap Into the Void” Yves Klein 1960 "The painter has only to create one masterpiece, himself, constantly."

Elizabeth Streb

Rosas danst Rosas- De Keersmaeker

We will see how Forsythe’s work has routes in earlier 20 th Century interdisciplinary experiments and questions: What are the possibilities and limitations of this medium? What are the limits of the body? How can we engage audiences? How can art reflect/change society? Where can performance take place? How is meaning produced? What knowledge is enacted in dance? How do we record performance? What gets lost?

De Keersmaeker/ Rosas  Fase Fase

Beyond the Docile Body  In the 80s, Bausch and other choreographers independently started to investigate and explore not only repetition, but also instinct and reflexes as aspects of dance choreography.  Dance-Theater was joined by “Euro-Crash” (see Vim Vanderkeybus and his company Ultima Vez, DV8, La La La Human Steps)  At the same time choreographers began to work more with untrained and ‘unusual bodies.’