sexta-feira, junho 20, 2003
It was first in 1998 that International Istanbul Theatre Festival welcomed Tanztheater Wuppertal Pina Bausch, which is when “DER FENSTERPUTZER” (“The Window Washer”), with its choreography for Hong Kong, conquered the Istanbul audience. Pina Bausch revisited Istanbul in 2000, this time bringing along the Mediterranean warmth of the South European coast as beautifully embedded in “Masurca Fogo,” which she designed with Lisbon in mind… Thus, in 2002, it was not difficult for the Istanbul audience to remember “Masurca Fogo” while watching “Talk to Her” by Pedro Almodovar.
After these two brief visits to Istanbul, Pina Bausch’s longing for Istanbul must have reached to a level that, she decided to actualize the dream project of Istanbul Foundation for Culture and Arts by beginning to work on her choreography for this mysterious city. She brought along a team of 30 members to stay and work in Istanbul for a period of three weeks. She strolled down the streets, through marketplaces, through real people, related to them, spoke with them and listened to them… She took walks by the Bosphorus and the Golden Horn, in the districts as diversified as Kasýmpaþa, Moda, Fatih as well as the Princess Islands… In the meantime, an intensive and engaging process of rehearsals was on its course. The work continued in Wuppertal until March the 21st when The Istanbul Project had its world premiere there, which is typical of Bausch since she has always chosen Wuppertal for her premieres.
The Istanbul Project or “Ein Stück von Pina Bausch” (as the choreographer chooses to call each of her works until she specifies a title she is fully pleased with) greeted its first audience in The Wuppertal Opera. In its two acts, lasted three hours through an upsurge of emotions. The nine-minute outpouring of applause also indicated how truthful the intention was to connect with Istanbul as well as the process it successfully unfolded itself into the action over the stage. The Istanbul Project is not in the least a boast of history, neither a tourist attraction, nor folklore. It is a production at a level of intensity that cannot afford clichés. It intertwines a texture whose warp-and-woof consists of emotions, thoughts and images. The Crownless Queen of the Modern Dance is at the best of her expressionist style in terms of getting her meanings across to the audience. In order to communicate how both fragile and unrelenting, how mystical, and how erotic Istanbul could all be at once, as an aqua-city in her imagination, the choreographer seems to have chosen remarkable solos as her form of expression in dance… The mystical energy pervades through the performance. Then, one feels called to remember, in Bausch’s own words, that “There are some catchers that capture and absorb you. It’s such a chance to rest on the surface of this beautiful sea, but not to the point of drifting through… It is important to know which direction you will aim your course at. We are like Lilliputians in this giant city.” Bausch does not certainly fall short in making us smile by means of her brilliant capture of what we could call as “the typical us”…(...)
posted by Luís Miguel Dias sexta-feira, junho 20, 2003