LET'S TALK ABOUT DANCE. Tanztheater Calling

Aufgrund der aktuellen COVID-19 Regelungen konnten sich Marc und Çağdaş nicht im Studio treffen. In dieser Homerecording-Folge sprechen Marc und Çağdaş über Kindheitserinnerungen, Çağdaş frühe Faszination für die Bühne und seine Begeisterung, in andere Rollen zu schlüpfen. Er beschreibt, wie er auch trotz Widerständen und Unverständnis an seinem Traum, Tänzer zu werden, festgehalten hat. Çağdaş erzählt, wieviel Durchhaltevermögen er brauchte, um endlich mit den Tänzer*innen des Tanztheaters auf der Bühne tanzen zu dürfen. Die Stücke von Pina Bausch haben Çağdaş‘ Leben verändert, Tanz hat ihm die Möglichkeit gegeben, frei zu sein. Was bedeutet Tanz für dich? Çağdaş Ermiş ist seit 2016 festes Ensemblemitglied.

Due to the current COVID-19 restrictions Marc and Bernd couldn’t meet in the studio. In this home recording episode Marc and Bernd speak about Bernd’s unusual path of becoming a dancer and the moment when he was infected by movement. He recalls the various stages of his life, training, and jobs he did before finally studying at the Folkwang University of the Arts. Bernd reflects on his work with Pina Bausch and his hunger for knowledge where movements come from. Have you ever thought about which color you are? Bernd Uwe Marszan took over the management of the ensemble’s physiotherapy department in 2019. From 1989 to 2001 he was a permanent member of the ensemble.

Due to the current COVID-19 restrictions Marc and Christopher couldn’t meet in the studio. In this home recording episode Marc and Christopher speak about the current rehearsal situation, being in the present moment and Eckhart Tolle’s book A New Earth. Christopher reflects on his personal way becoming a dancer, how to overcome questioning and nervousness and why he had to overcome himself. Have you ever heard of the small town Blaenpennal? Christopher Tandy has been a permanent member of the ensemble since 2019.

Due to the current COVID-19 restrictions Marc and Dean couldn’t meet in the studio. In this home recording episode Marc and Dean speak about The Juilliard School, Dean’s first encounter with Pina Bausch’s pieces and the differences between the US and the German dance world. Dean describes his way from New York to Saarbrücken and Wuppertal and what his daily routine looks like during the lockdown. He tries to come closer to the essence of Pina Bausch’s pieces and reflects on the duality between surreality and humanity in her pieces. What makes Pina’s pieces so timeless? Dean Biosca has been a permanent member of the ensemble since 2020.

Due to the current COVID-19 restrictions Marc and Stephanie couldn’t meet in the studio. In this home recording episode Marc and Stephanie speak about New York City, auditions, first jobs and Pina Bausch’s pieces. Stephanie openly recounts her personal way becoming a dancer and how cruel the dance industry can be for a young girl. In 2018 she took over the role of Anna II, originally played by Jo Ann Endicott, in Pina Bausch’s Brecht/Weill evening The Seven Deadly Sins. Stephanie reflects on how her own experiences helped her when approaching the role and how her body remembered things she didn’t even think about. Did you ever tell your deodorant how much you love it? Stephanie Troyak has been a permanent member of the ensemble since 2017.

Marc and Julie speak about Julie’s first trip overseas, her early days in Bremen and her personal history with the Tanztheater Wuppertal. She describes the moments in our daily life in which we have to be strong and the moments where we are incredible fragile and how Pina’s pieces show symbolically this strength and weakness that we have in us. Do you remember the canteens in the old days? Julie Shanahan has been a permanent member of the ensemble since 1988.

Marc and Oleg speak about wishes, this special cozy Christmas-feeling, childhood memories and the best places to hide Christmas presents. Oleg describes his desire to flee from everyday life working in a laboratory in an industrial Russian city and his personal history with Pina Bausch’s pieces. Do you know the Russian Christmas Song about the three horses and the ringing bell ding ding ding? Oleg Stepanov has been a permanent member of the ensemble since 2016.

Marc und Roger sprechen über Fleischfondue und Karpfen mit Sauerkraut. Roger erzählt von Weihnachten mit seiner Familie und wie Traditionen sich wandeln. Er beschreibt die Herausforderungen an die Geschäftsführung in Krisensituationen und wie eine Krise gleichsam eine Chance sein kann. Für die deutsche Kulturszene wünscht Roger sich, dass es weniger um die Institutionen und mehr um die Kunst und Künstler*innen geht. Gibt es Solidarität im Kunstsektor? Roger Christmann ist seit Januar 2019 Kaufmännischer Geschäftsführer des Tanztheater Wuppertal Pina Bausch.

Marc and Saar speak about topics related to The Piece with the Ship by Pina Bausch, such as sadness, loneliness, and how relevant these feelings currently are in our lives due to the Covid-19 crisis. Saar describes her work with the company on the restaging of the piece and her role as an ‘external eye’. Her aim is to enable the dancers to find their own story in the role and in the piece. What is the essence of the original and what is the essence of the performers in the piece? Together with the rehearsal directors Barbara Kaufmann, Héléna Pikon and Julie Anne Stanzak, the Israeli artist Saar Magal is helping to bring the 1993 work The Piece with the Ship back to the stage.

Marc und Barbara sprechen darüber, wie man sich einem Stück von Pina Bausch nähert, das 26 Jahre nicht gespielt wurde und wie dieses einer neuen Tänzergeneration zugänglich gemacht werden kann. Barbara beschreibt eine Idee von Ehrlichkeit auf der Bühne, die Herausforderungen an sie als Probenleiterin und ihren Wunsch ein Feuer zu entfachen – bei den TänzerInnen und dem Publikum. Was hat Das Stück mit dem Schiff 1993 erzählt und was erzählt es uns 2020? Barbara Kaufmann ist seit 1987 festes Ensemblemitglied.

Marc and Julie speak about broken hearts and The Poetics of Space by Gaston Bachelard, and how both of these can be used for inspiration. Julie reflects on inspiring a new generation of dancers to restage The Piece with the Ship at the end of November, after 26 years of the piece not having been performed. She describes the fine line between doing things how they need to be done and empowering colleagues to find their own spark. Why is longing so universal? Julie Anne Stanzak has been a permanent member of the ensemble since 1986.

Marc and Bettina speak about the early days of Bettina’s career in Frankfurt am Main and her personal history with dance, about dance as an art form and dancing as a political act, and about her long-term interest in the preservation of intangible dance heritage. Bettina talks about recent Art Meetings in which the entire ensemble has discussed important and relevant topics such as racism and participation, before going on to describe the delicate process of passing on roles. Bettina Wagner-Bergelt took over the Artistic Direction of the Tanztheater Wuppertal Pina Bausch in January 2019.

Marc und Bettina sprechen über Bettinas berufliche Anfänge in Frankfurt am Main, ihre persönliche Geschichte mit dem Tanz, über Tanz als Kunstform, Tanz als politisches Medium und ihre langjährige Beschäftigung mit dem immateriellen Erbe Tanz. Bettina spricht über Art Meetings, in denen gemeinsam mit dem Ensemble gesellschaftlich relevante Themen wie Rassismus und Partizipation diskutiert werden und beschreibt den sensiblen Prozess von Rollenweitergaben. Bettina Wagner-Bergelt ist seit Januar 2019 Intendantin und Künstlerische Leiterin des Tanztheater Wuppertal Pina Bausch.