«Tanztheater Wuppertal Pina Bausch
Zora Semberova (1913–2012)»
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Ask Pina's dancers anything

By Kina Poon


The dancers of Tanztheater Wuppertal, currently in the midst of a two-week, sold-out run of Pina Bausch's …como el musguito en la piedra, ay si, si, si (like moss on a stone)—the last piece she made before her death in 2009, reviewed by Wendy Perron here—at the Brooklyn Academy of Music, will be interacting with fans on Twitter tonight from 5 PM–6 PM EST. Using hashtag #PinaLegacy, you can ask Eddie Martinez, Fernando Suels Mendoza, and Thusnelda Mercy your burning questions about working with Bausch and follow @BAM_Brooklyn to read their answers. (You can also email questions to info@BAM.org, with "Pina Legacy" as the subject.) We want to know everything—in how many languages the dancers end up learning their onstage phrases, given their worldwide travels; how much product goes into taking care of those cascading waves of hair (practically a fifth limb for the women in ...como el musgito); and how they manage to keep the work fresh every night—although judging by the emotions displayed at bows, Bausch's loss is still very raw and deeply felt, and seems to be behind every movement. (The dancers said as much in the wonderful Wim Wenders film PINA.) Perhaps, tonight, we'll even learn what's in store for the future of the company.

 

Here's the BAM 150 years blog with more info.

«Tanztheater Wuppertal Pina Bausch
Zora Semberova (1913–2012)»
Table of Contents