Summary Of Pina Bausch's Cafe M�ller And The Rite Of Spring

Decent Essays
Pina Bausch’s classic Café Müller and The Rite of Spring seem to come from completely different worlds. The movement style, narratives, and musical scores are completely contrasting in the pieces. However, there is one similarity between the two — the way Pina intelligently uses the music to inform her movement. In both works she utilizes both stillness/silence and repetition to create power and drama to match the music.
As I watched a tall woman, stumble blindly across a crowded stage in silence, the last thing that crossed my mind was what kind of music could accompany such mundane yet ethereal movement. If I were to have guessed what musical score would be used for Pina Bausch’s abstract choreography, I surely never would have imagined Henry Purcell’s arias from Dido and Aeneas. On a basic level, Pina’s choreography seemed to have no correlation to the music. The sporadic rhythm of her choreography never seemed to follow the trembling voice of the soprano or dramatic cry of the violins. In fact, as furniture and dancers unpredictably crash around the stage, her choreography almost serves as a second, contrasting musical score. At first, the choice of seemed as random as which chair the sleep walking women ran into — yet her musical choice still seemed to fit perfectly.
Oddly enough, the choreography did have an obsessively regular rhythm, it just did not correlate with the music’s rhythms. In her piece, the dancers’ bursts of violent movement are followed by long
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