ORIENTALISM, ORIENTATION, AND THE NOMADIC WORK OF PINA BAUSCH.
1.INTRODUCTION.
1.1. Available Literature on the Tanztheater Wuppertal. 1.2. The Prohibition of Appropriative Interpretation. 1.3. It is a Ritual Requiem to a Civilisation. 1.4. Getting Beyond The Fascinating Funeral Pyre. 1.5. Experiencing More Immediately What We Have. 1.6. Getting to ‘the Truth’. 1.7. Is it Geographically Specific? 1.8. Bausch’s Site-Specific Pieces as Paradigms of The Tanztheater Wuppertal Aesthetic.
2.DEPARTING FROM ORIENTALISM.
2.1. How Orientalism Applies to The Work of Pina Bausch. 2.2. Bausch’s is a Coroner’s Inquest, Into Orientalism. 2.3. Bausch’s Work is Paradoxical, and Non-Appropriable. 2.4. Bausch’s Work and The Psychology of Fascism. 2.5. Le Théâtre est Oriental. 2.6. The Root of Orientalism is The ‘Having’ Mode of Existence.
3.MORE SIGHT-SPECIFIC THAN SITE-SPECIFIC NOMADIC WORK.
3.1. The Renovation of Western ‘Imperial Eye’ Perception. 3.2. The City. 3.3. The Abstract Stage Design of The Site-Specific Pieces is a Geographical Landscape. 3.4. A Liminal Sense of Place: Ici, Nullepart, et Ailleurs. 3.5. City as The Densest Distillation of Civilisation. 3.6. Cities Are The Hearth of Civilisation, and Thus Represent Society as a Whole. 3.7. A Peasant Cottage And a Tenement Block: The Juxtaposition of The Country and The City in The Tanztheater Wuppertal. 3.8. Fascism Was An Urban Phenomenon. 3.9. That Volatile Urban Chemical, Money Oxide. 3.10. How Civilisation and Cities Repress Man’s Instinct For Violence. 3.11. ‘It is The Act and Not The Object of Perception That Matters’. 3.12. Nomads. 3.13. Tanztheater Wuppertal Nomads in a Necropolis. 3.14. Utopie könnte auch Heimat heißen. 3.15. Heimat and The Psychology of Fascism. 3.16. Anchorless & Shipwrecked. 3.17. Migratory Birds. 3.18. Migratory Bird Imagery. 3.19. Liminality. 3.20. Emigré Consciousness. 3.21. Begegnung. 3.22. Nomadic Practice. 3.23. The Tanztheater Wuppertal Dwells in The Present Moment. 3.24. Journeys.
4.BAUSCH’S STUNDE NULL BIOGRAPHY.
4.1. A Time of Rubble. 4.2. Tanztheater and Butoh. 4.3. Bausch’s Formative Years, 1940-1955. 4.4. Kurt Jooss. 4.5. Jooss and German Nationalism. 4.6. The Folkwangschule. 4.7. Tradition and Continuity. 4.8. New York, 1960. 4.9. Return to The Rubble. 4.10. First Choreographies. 4.11. The Personal is Political. 4.12. Homesickness and Wanderlust.
5.CHRONICLE OF JOURNEYS IN NARRATIVE ABANDONMENT.
5.1. Non-Teleological Dance Operas Through Tauris & Hades (1974-1975). 5.2. Frühlingsopfer: the Tanztheater Wuppertal as Sacre du Printemps (1975). 5.3. The Seven Deadly Sins: The End of The Narrative Phase, in Louisiana (1976). 5.4. Blaubart. Beim Anhören einer Tonbandaufnahme von Béla Bartoks Oper "Herzog Blaubarts Burg" (1977). 5.5. Komm tanz mit mir: Breaching The Proscenium Arch and Other Borders. (1977). 5.6. Renate Emigrates: Her Journey.(1977). 5.7. The Compensating Function of Laughter For Loss of Narrative. 5.8. He Takes Her by the Hand, and Leads Her Through the Castle, the Others Follow (1978), Bochum. 5.9. Café Müller and Liminality.(1978). 5.10. Kontakthof (1978), Looking Without Seeing. 5.11. Arien (1979). 5.12. Keuschheitslegende. (1979). 5.13. 1980, A Piece by Pina Bausch. 5.14. Flexing The Memory Muscle. 5.15. Bandoneon: The First Incorporation of a Non-European Journey Into The Work. (1980), Argentina. 5.16. Walzer (1982), Orientalism and Giving Birth to The Inchoate. 5.17. Unpredictability. 5.18. The Ship of The Tanztheater Wuppertal Pulls Out of the Port of Narrative. 5.19. Walzer as a Manifesto.
6.THE QUEST-IONING METHOD.
6.1. Bausch’s Interrogations. 6.2. Questions Not Improvisations. 6.3. ‘My Pieces Grow From The Inside-Outwards’. 6.4. The Questions. 6.5. Secretly Subversive Questions. 6.6. How The Questions Fit Into The Process. 6.7. The Distillation of Authentic Human Experience. 6.8. Present Moment. 6.9. Feelings. 6.10. Vulnerability and Burning At The Stake. 6.11. The Translucence Of Its Genesis. 6.12. Questions, Unanswerability, and Subversion. 6.13 Words and Anonymous Authority. 6.14. Joining up The Answers. 6.15. Simultaneous Development of The Stage Design. 6.16. Music Content. 6.17. Musical Evolution. 6.18. Musical Collaborator Mathias Burkert and The Music of The Site-Specific City Pieces. 6.19. The Criterion is Authenticity. 6.20. Die Form ist schon etwas sehr wichtiges für mich. 6.21. The Dramaturgical Principle is Musical. 6.22. Repetition as The Hidden Musical Structure of Time. 6.23. Memory Work. 6.24. How Bausch Taps Into the Collective Unconscious. 6.25. The Hidden Dimension of Time: The Fourth Theatrical Dimension. 6.26. THE SIGNIFICANCE OF THIS PROCESS: Looking Within: A Catalyst For Original Thought and Feeling. 6.27. das Finden der Arbeitsweise. 6.28. The Metaphoric Wall. 6.29. The Disturbance of ‘Take my Hand!’. 6.30. Tänze der Trümmerfrau. 6.31. Turning Form and Content Inside-Out. 6.32. A Natural Evolution in The Folkwang Tradition.
7.ORIENTALISM.
7.1. Food and The ‘Having’ Mentality on The Bauschian Tableau. 7.2. The Marketing Character on The Bauschian Tableau. 7.3. The Exposition of The Authoritarian/Sado-Masochistic Character on The Bauschian Tableau. 7.4. The Teacher-Pupil/Slave Driver-Slave Paradigm on The Bauschian Tableau. 7.5. Fear of, and Mechanisms of Escape From, Freedom. 7.6. Das Rätsel der Freiheit. 7.7. Orientalism and Deadliness. 7.8. Deathly Music. 7.9. Form as it Stands. 7.10. Deadly Theatre. 7.11. Bausch’s Taxidermy 7.12. Anti-Orientalist Mix of Cultures. 7.13. ’It Will Have Been a Happy Day’: Fairytales as Orientalisms. 7.14. The External Forms of Ballet and Ausdruckstanz Are Orientalisms. 7.15. How Ausdruckstanz was hijacked. 7.16. German Imperialism and The Modus Operandi ‘Nations Are Narrations’. 7.17. Transformation: Is There Hope For Change? 7.18. Fascinating Forays: Bausch’s Site-Specific Works.
8.ORIENTATION.
8.1. Tradition and The Search for Form. 8.2. The Overwhelming Primacy of Bausch’s Work. 8.3. A Unity Behind The Diversity of Forms. 8.4. External Form Changes. 8.5. Sweeping Old Plot-Driven Narrative Forms Away With The Bauschian Broom; Bausch’s Search For New Form Which Corresponds to The Present Moment. 8.6. No Anchors, No Comfort, No Closure. 8.7. Der Striptease des Humanismus. 8.8. Identity. 8.9. Paradoxical vs. Aristotelian Logic. 8.10. Bausch’s Work is Transformative. 8.11. What is Being Transformed? 8.12. Turning Theatre in The North-South Axis (as opposed to the Comforting East-West). 8.13. The Nettle. 8.14. Non-Appropriable Nettle Form. 8.15. The Spectator is The Kyu. 8.16. Where is The Spectator? Thrown Into Experience, Emasculated By Society’s Narratives. 8.17. The Death of The Author and The Birth of The Active Spectator. 8.18. The South Indian Monkey Trap. 8.19. The Culprit is The ‘Having’ Mentality. 8.20. Narrative For Constructing and Maintaining Identity. 8.21. The Stunde Null Collapse of Absolutes. 8.22. The Viewer Must Actively Participate. 8.23. Transformative. 8.24. Emotions and Intuition Negotiate ‘Immediate Experience’. 8.25. Active Thinking and Original Thought. 8.26. Original Thought vs. Ready-Made Thoughts. 8.27. Orientation. 8.28. Escape From Freedom and Loss Of Self. 8.29. Time The Fourth Dimension. 8.30. There is No Such Thing As a Communal Response. 8.31. Photographs and Anti-Narrative Waywardness. 8.32. Involving The Audience. 8.33. Unanswerability. 8.34. Dreamscape. 8.35. The Push and Pull Paradox of Interpretation. 8.36. Bausch’s Relentless Pessimism. 8.37. Der Striptease des Humanismus entblößt die blutige Wurzel der Kultur. 8.38. Opacity/Translucence. 8.39. (Almost) A Rite of Spring.
9.CONCLUSION.
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