c 1989 L'Arche Editeur
¡@¤T¦~«e¦]SARS¸vh¦Ó¨ú®ø¨Ó¥xºt¥X¡AÅý쥻ºÆ¨g´Á«Ýªº¥xÆW»R°gÌ¥¢±æ¦Ü·¥ªº¼w°ê²{¥N»RÁФj®vºÑ®R¡EÀj³\¡]Pina Bausch¡^¡A¬O·í¤µ³Ì°¶¤jªºÃÀ³N®a¤§¤@¡C¦o®v©Ó¼w°êªí²{¥D¸q½s»R®aKurt Jooss¡A´¿u¬ü¶iײ{¥Nµ¼Ö»P»RÁСA¦b70¦~¥N±a»â¥@¬Éª¾¦Wªº®J´Ë»R¹Î¡A®i¶}¥þ·sªº³Ð§@¾úµ{¡C¦o¥H«e½Ãªº²z©À»Pªí²{¤âªk¡A¹ý©³§ïÅܼw°ê»RÁб»ª¡A¨ü¨ì»RÁЬɬ۷í¤jªº½èºÃ»P§ðÀ»¡C¦o¤£ÅU¤@¤Áªº°í«ù»P²z©À¡A±N¡u»RÁм@³õ¡v±j½Õ§@«~À¸¼@±i¤O»P¤Hª«¨è¹º¡Aºî¦X»RÁлPÀ¸¼@¤¸¯Àªº·§©À©M«¬¦¡µo®i¦¨¿W¯SªºÃÀ³N¡A¶}©Ý»RÁлP¼@³õªº·sµø³¥¡CPina Bauschªº»RÁм@³õ¦b¤µ¤é¤w©M¬ü°ê«á²{¥N»R¤Î¤é¥»»R½ñ¨Ã¦C¬°·í¥N¤T¤j·s»RÁЬy¬£¡C
¡@Pina Bauschªº¦W¨¥¬O¡u§Ú¦b¥Gªº¬O¤H¬°¤°»ò°Ê¡A¦Ó¤£¬O¦p¦ó°Ê¡v¡C¦oªºì³Ð©Ê¦b©ó¿Ä¦X»RÁлP¼@°|¡BºëÀJ²ÓµZ»P¹B¥Î»RªÌªº¤âªk¡Aª`«Ó¤H¯S½è½s³Ð»R§@¡A¬ð¯}¤F¶Ç²Î»RÁЧΦ¡©Î»y·J¡C¦o¥H¦p¸ÖºqªºÂ²¬ù¤âªk¶Çz¤£¥i¨¥»¡ªº±¡·P¡A½s»R¥Rº¡±¡ºü»PÀ¸¼@±i¤O¡A±j¯P¦ÒÅç»RªÌªºªí¹F¡C¡u¯Q©¬¶ð»RÁм@³õ¡v¦¨¤F¦oªº¹êÅç»RÁм@³õ¡A¦o¥H¶°Åé§Y¿³³Ð§@ªº¤è¦¡¶i¦æ±Æºt¡AÅý»RªÌ±qÓ¤Hªº¸gÅç©Î·Qªkµo·Q¡C«½Æªº±¡´º¡B«÷¶Kªº·N¦V¡Bµ¼Ö»X¤Ó©_ªº¤âªk¡A¦b»R¥x¤W²£¥Í¥¨¤jªº¯«¯µª^³ò¡AÅý¨C¦ìÆ[²³±qÀY¨ì§À¤£°±·²ªºÅå©_»Pµo°Ý¡A¦Ó¦³¤F¦U¦Û¹ï»R¼@¿W¯Sªº¸àÄÀ»PÆ[¬Ý¸gÅç¡C
¡@¦b³o³¡Pina Bausch°õ¾Éªº²Ä¤@³¡¹q¼v¤¤¡A¨S¦³¥ô¦ó²M·¡ªº¬G¨Æ½u¡A¦o¥H©M¡u¯Q©¬¶ð»RÁм@³õ¡v¦@¦Pµo®i¥Xªº¤âªk¢w¥H©u¸`Âà´«ªº§G´º§@¬°¼v¹³ªººc¹Ï¡A¥H«÷¶K³õ´ºªº¤âªk¤Ï¬M¯S©w±¡ºü¡A¨Ã¤Þµo¤£¦PªºÃöÁp©Ê¡CPina Bauschªº§@«~¦V¨Ó¨¥z¼¤±æ»P¥H¦UºØ±»ª¥X²{ªº²{¹ê¤§¶¡ªº¼e¼s²`²W¡A¨ä¤¤¤S¥H½ÆÂøªÈÄñªº¨k¤kÃö«Y¬°¥DÃD¡C¹ï·R»P§¹¬üªº´÷±æÅý§Ų́V¨V©ó°l¨D¡A«o©¹©¹¤£¥i±o¡A©Ò¥H§ÚÌÂà¦Ó¥H·Q¹³Àç³y¤ß¤¤ªº·R±¡¼@³õ¡CPina Bausch´±ó¦nµÜ¶õ¦¡ªº·R±¡¤½¦¡¡A¦Ó¥H¤£§¹º¡¡B¯}¸H¡B²V¶Ã¡B¤zÂZªºµ²ºc§@¬°§e²{»P²`¤JÀ˵ø·R±¡ªº¤è¦¡¡C
¡@Ãö©óPina Bausch»P»R¹Îªíºtªº¬ö¿ý¼v¤ù«Ü¦h¡A¦p¡u¿p°Ç©@°ØÀ]¡v¡B¡uºÑ®RÀj³\²{¥N»R¡vµ¥µ¥¥ÑºÑ®RÀj³\¿Ë¦Û¾Éºtªº¼v¤ù«o¬OÃø±o¿Ë²´©Ò¨£¡C¨âÆU°|¥¿¤OÁܺѮRÀj³\»P¯Q©¬¶ð»R¹Î©ú¦~¬K¤Ñ¦A¦¸³X¥x¡A»R°g¦b¤ÞÀV´Á¬ß¤§¾l¡A¤d¸U¤£¥i¿ù¹L¥»¦¸¼v®i¯S§O¤OÁܪº¤j®v¿Ë¾É¤§§@¡V¤@ÄÕ¥u¬°¹q¼v½¦±²¦Ó¦s¦bªº»R½X¡Aȱo²`¨è¯O¦L©ó¸£®ü¤¤¡C
¡@This is Bausch's first film, produced between October 1987 and April 1989. The general framework is set by the changing seasons and illustrates the method Bausch has worked to develop with the Tanztheater Wuppertal, in which the work tells no story but is made up of scenes put together like a collage, reflecting certain moods and invoking different associations.
¡@Ms. Bausch's works have always addressed the abyss between desire and reality in one form or another, most often in the crucible of male-female relationships. We long for love or autonomy or perfection. We rarely, if ever, get it, but we'll die trying. And in the meantime, we'll make theater out of its shadows. But instead of smoothing over that desperate chasm, Hollywood-style, Ms. Bausch adapts its structure - incompletion, fragmentation, disruption and interruption - as a way to inhabit and inspect it more fully.
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