Pina-Bausch-02

Heidegger and Pina Bausch Notes

The Fundamental Question of Metaphysics

Why are there things that are, rather than nothing? Heidegger tries to capture the strangeness of being.

This persistence of the question and why. In a way the muffled telephone rings that call in the question of being… The question looms in moments of great despair, when things tend to lose all their weight and all meaning becomes obscured.

She’s always accused of being too heavy… the inversion between heaviness and lightness… the weight of presence… Sometimes its too light or too heavy… what constitutes heaviness… what is the pull of gravity…

How do you imagine love… fantasy? When someone forces you to love how do you react… you do it with heaviness… It takes a lot… It’s not a turn towards representation, it’s a turn towards theater… the privileging the event…

Performance is unmeasurable… hard to grasp… She’s dealing with what moves… She’s dealings with the burdens of history… People running through the forest with undergarments… it’s the inside/outside thing…

To think choregraphically about Pina Bausch is to examine the essence of the object (the man walking with the drawers on his back)… performance deveise rather than a theatrical devise… The present moment of the effort of the performer… It’s a different, rather limiting to theatricality,

Performance embraces a different paradigm… Brecht… a non-event can have a heightened

Why do you have to massacre people with her questions… By exertion, do you really answer the question?

The way to provoke is not always through sex and violence… there is not gratuitous…

This will constantly make us ask again and again… Philosophy can’t work in the present… only works to describe the past or to try to project the future…

Especially when we’re dealing with non-linear forms, we read into it our own thoughts structures… there are objects… there is a kind of structure… and then draw relationships… I think relativism and the objectivism are both important… dance and temporality (she’s always trying to create her own time/temporality… )

Strategies of composition… logic of the composition… to a spreadsheet… and figure it out. Articulate the structure and think about it… the world music is already there…

There is something that isn’t tracable and there’s a part that is…

Alleatory and Obligatory texts.

There’s no ground, the ground is always shifting… Heidegger describes three different aspects of the ground
1. primal ground, ritual
2. abyss, lacks foundation
3. non-ground, there is no ground at all

If she stands on the ground… what constitutes the ground… why is is not smooth… is it shit is it mud… maybe we could start exploring further… what is the ground as an abyss…

The expressive subject becomes an expressive object. The discipline of dance is very important… the dancer’s labor is the one who obeys… it creates a completely different texture to the performance. What happens when the question becomes hyper-active in your brain… what constitutes presence on stage… what constitutes becoming-object (the evaporation of subjectivity of the dancer)… can we see that… is there any sort of similarility between what we see in Pina Bausch and Vito Acconci? You must take reponcibility of the form… the feeling is so secondary to the form (the object of the dance)… can’t make the distinction between the subject and the object. how do you imagine love… you have come up with an imaginary set-up… Resist representations… the dance goes past the absolute… formless…

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