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dies at 68 years German choreographer Pina Bausch Die

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dancer and choreographer Pina Bausch (Solingen, July 27, 1940) died today at age 68, five days after being diagnosed with cancer. "He was up on the same Sunday on stage with her dance company," said Ursula Popp, spokeswoman Wuppertal Opera House, where Bausch was a resident choreographer.

consecrated as one of the key figures of contemporary dance of the twentieth century, its influence over three generations of choreographers from around the world testifies to the uniqueness of his talent. In fact, it is considered as the axis of the crystallization of the so-called dance theater (or dance theater, according to other definitions), a way of conceiving the show from an optical complex, open and non-linear.

Since the late seventies filed as resident choreographer of the Wuppertal Opera, the company that gathers around it nurtured by dancers from various disciplines and from all over the world. One of its original members and still remained at his side, is the Madrid Nazareth Panadero. Philippines

Bausch began her training in 1955 in Essen Folkwangschule (institution which always remained tied) with Kurt Jooss and Sigurd Leeder. When he graduated in 1959 won the first award granted to a German dancer to go to the Julliard School in New York, where the company became Paul Sanasardo. Another American stage next to his was Paul Taylor, who debuted in 1961 Ballet Tablet. At the time New Yorker Bausch find the basis of its style and its creative, his passion for old opera of his time in the Metropolitan Opera and that experience will be born today devoted repertory pieces worldwide as Iphigenia in Tauris, or Orpheus and Eurydice (Gluck both). Her Rite of Spring became part of the repertoire of the Paris Opera and its short Café Müller (1978) was filmed with his unique dance hieratic. Last week was scheduled landing of the company in the Spoleto Festival with a revival of one of his last choral works: Bamboo.

His last visit to Madrid, went first to the Teatro de la Zarzuela in 2006 and then in 2008 the New Theatre of San Lorenzo de El Escorial. Pina Bausch was scheduled to open next Autumn Festival in Madrid on November 4 with the Kontakthof (1978).

Taken from Diario El Pais. ROGER SALAS - Madrid - 30/06/2009

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"Up"
Director: Pete Docter and Bob Peterson
Writer: Pete Docter and Bob Peterson
Cast: Edward Asner, Christopher Plummer, Jordan Nagai, Bob Peterson
USA, 2009

Pixar always surprises us . However, we try to pigeonhole his majestic animation in another plane, thereby bringing to compare his work with the rest of animated films, and so far has very few competitors. In fact there are some works of the great producer that can be compared with non-animated films, as his narrative style does not get caught by the typical stereotype of children's films, making cross generational barriers to encompass the broadest spectrum viewers that a film can have.

Anyway the idea is not to compare to "Up" with other animated films, but is intended to be as objective as possible so as not to be impressed only by the quality of your picture or cleaning with the features are exposed. Because in this battle Pixar has an unprecedented weapon, under which it protects and manages to destroy his rivals no matter what is presented. However, the grace of the production is that not only has the resource to be positioned in the top of the industry, since their arguments have the impact necessary to deal with the great stories that have appeared in film history.

"Up" is one of them. Pete Docter - creator of 'WALL-E , "" Monsters Inc. " and "Toy Story" - met with Bob Peterson - author of "Ratatouille" and "Finding Nemo" - to form an atomic pair capable of surprising the world with a fairly simple story, which has the ability to charm both smaller as the oldest of the room. And the story expands the pupils of the spectators from the start, when less than 5 minutes, tells the love story of the protagonist Carl Fredricksen with Ellie showing that in that space of time so we can experience sensations such as frames are shown in screen. In fact, the relationship they have with the character is so close, you can understand every emotion provided by their body language while only an animation.

The story, full of originality, potently begins to rise as it makes the house as the protagonist, declining only when the talking dogs on the scene. These, along with Kevin prehistoric bird, do nothing but put a note of humor out of context to the film, which at times the line out of your paint consistent with features of superficiality. Perhaps the way to promote the humor is not necessary for the strong argument, since it deflects some attention smart well take advantage of situations that could have increased the impact of history. However, this does not hinder the tape to a successful conclusion to be applauded for standing, thus becoming one of the best films of the year, as did " WALL-E" last year.

Calificación: 6/7

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Jerzy Grotowski, theater visionary spectacle stripped of all

Jerzy Grotowski, famous Polish stage director and theatrical theorist and great boldness visionary innovative, died last Thursday at age 65 at his home in Pontedera, near Pisa, Italy. Born in 1933 in Rzeszow, Krakow and studied in Moscow and achieved fame and across Europe in the sixties, with mounts outside of the laboratory standard of Wroclaw. He was exiled from Poland in 1982, spent three years in Paris and finally settled in Italy in 1985. In this country and organized workshops with marginalized groups in New York continued until his death, completely apart from conventional theatrical life. His dedication to train actors almost entirely occupied the last years of his life, in which he made no assembly, focusing on experimental studies stage.

Nudity, dispossession, poverty, severity, renunciation, and transgression, intimacy, transubstantiation ritual. And the "negative way" ... Eight, ten words, continually appear in the texts that gave the theater Grotowski in the sixties, seventies. Whoever gives me the news of his death, he says: "I knew he was so young." Born in 1933, but had disappeared long ago. The age of an artist is not available from birth, but since he fails to appear, to be subject, being active, and he was held in Pontedera, Italy in the Workplace Jerzy Grotowskj, where small groups to receiving, transmitting, now, the essence of his method. This has grown older than I was.

I just had an influence, or, more accurately, had lost all broadcast and admiration he had in Poland Communist. It is possible that schemes such strong, tough and vigilant in creating a school literary and artistic resistant, antimatter, and that is terminated with the system. Poland was rich with him, Gombrowicz and especially with Kantor, which he gained international public, or a public medium, while Grotowski remained in an intellectual force. Humanity

In Spain he loved some of theater artists. Like Brecht or the old Stanislawski, which were above but which, nevertheless, continued. It was logical, and this, in the good years of Grotowski, was a country with a regime under which the theater was decorative, emphatic, class, if not crude, boorish, subarctic. I'm using the word art too, or artistic, it was just something repudiated what Grotowski, sought an elemental and direct humanity. It is not yet clear that the counter is not, above all, culture, and even a sobrecultura, exquisite and difficult, or that the theater "stripped" of Grotowsk: i have managed to never be a theater naked.

Here came to him as a hot nail to claw in the middle of a tailor. Not achieved, none of the moves that were cultured began, mixed or hybrid made in the historic and never sufficiently recognized theater group, or test, went to the public. Of course, with Grotowski the front reached the destruction of the "forty years right theater, "as critic Triunfo, Monleón, but could not put anything in place. So we are. And we're also out of the other schools that followed in the theatrical world.

nudity, Grotowski said, is a revelation of the human being if the theater is no longer what is aesthetic, or what is public and became the territory in which we face with our own reality, whether we disclose it , we get not just the nakedness of the skin, but "the whole man, the human being." To that end, the base is the personality of the actor. Is he, as a "son of humanity": this "son of man-out all religious concept-who has to give proof of nudity, sexuality, disarmament, the sincerity in the integrity of being human. "Stripped to the end, even in the public exercise of his act is veiled by clothing." Philosophy

Practically, this philosophy of theater, or philosophy, or poetry or painting, everything is applicable to these heights of art-had to see it in his shows: in the Marlowe's Faust, that of Goethe, in reviews of Hamlet or Calderón ( The Constant Prince), but soon found that even in the representation, including some masterpieces that got to the school of actors, the impurity could be created, that the topic and repetition could taint the outcome. He dedicated his workshop paratheatrical activities: he dedicated himself to teaching, at conferences, lectures and books. Like all great creators of the arts, was unique: they disappear, or fall, is his work remains, and seldom his theory. You learn from what he did rather than what he said.

Taken from newspaper. Written by Eduardo Tecglen Haro.

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