Events

PINA BAUSCH AND THE TANZTHEATER

The Lichtburg
Lichtburg is the name of the rehearsal space in which Pina Bausch developed most of her pieces with her dancers. The former cinema in Wuppertal is a place of work, of confrontation and play. It is a protected space that rarely opened its doors to outsiders.

A faithful reconstruction of the Lichtburg forms the heart of visitors to explore movement. A varied programme of performances, lecture performances, open rehearsals, films and talks offers visitors a unique insight into Pina Bausch’s work.

The different formats focus on practical physical work, i.e. on dancing itself. Warm-ups and workshops home in on different techniques, choreographic strategies and creative practices. These near-daily sessions are open to dance enthusiasts of all levels of ability and experience. The maximum number of participants for the warm-up sessions is twenty-five. The exhibition. It facilitates encounters and invites

The Lichtburg is not static - the programme may be subject to change at short notice.

PINA BAUSCH and the Tanztheater
Introductory Talk
by Miriam Leysner (curator)

Pina Bausch (1940–2009) is recognised as a pioneer of modern dance theatre and as one of the most influential choreographers of the twentieth century. Her work was first honoured with a comprehensive retrospective at the Art and Exhibition Hall of the Federal Republic of Germany in Bonn in 2016. This exhibition can now be seen at the Martin Gropius Bau in Berlin.

Working with her company, Pina Bausch developed the artistic form of dance theatre, which combines theatre, dance and performance art. Her novel approach not only roundly rejected the conventions of classical ballet, but also went far beyond the preoccupations with formal principles that characterise much of modern dance.

At the heart of the exhibition is the reconstruction of the Lichtburg, the legendary rehearsal space in an old Wuppertal cinema, in which Pina Bausch developed most of her pieces with her dancers. In the atrium of the Martin Gropius Bau, this space becomes a space in which visitors can meet members of the company who will introduce them to characteristic dance theatre movements and short sequences of moves. Performances, dance workshops, public rehearsals, conversations, films and much more transform the rehearsal studio into a vibrant, experiential space.

In her introductory talk Miriam Leysner, curator of the exhibition, will explain the idea behind the exhibition and how it all came together.

Saturday, 17.9., at 14.00, Film theatre
Free admission
Duration: c. 60 minutes
Maximum number of participants: 200

3rd Tanztreffen der Jugend
For the third year running, the organisers of the Berliner Festspiele honour outstanding dance productions by young ensembles and, with it, the work of their choreographers. The jury of the nation-wide contest chose five contemporary productions from a large number of submissions. The chosen ensembles from Berlin, Bonn, Herne, Mainz and Munich will present their work at the Tanztreffen der Jugend (Dance Meeting of Young People) at the Festspielhaus.

This year the focus is on the choreographer Pina Bausch. All participants of the Dance Meeting will take part in the project DANCE! The Nelken-Line by Pina Bausch and study and perform the celebrated sequence Frühling Sommer Herbst Winter from the piece Nelken (1982). The project will be filmed. To view the video, please go to concert.arte.tv.

The programme also comprises encounters with dancers of the Tanztheater Wuppertal in workshops, a visit to the exhibition Pina Bausch und das Tanztheater at the Martin Gropius Bau as well as a screening of the documentary Tanzträume (2010).

23–30 September, Haus der Berliner Festspiele
Programme of the Tanztreffen

Jazzfest Extended
Concert in the exhibition

MATANA ROBERTS: „For Pina“
Matana Roberts describes her combination of instrumental music, vocals, spoken word and visual language as ‘panoramic sound quilting’. Born in 1978 in Chicago, she studied classical clarinet before taking up the alto sax. In 2011 she released the first part, or the first chapter, of a planned twelve-part album with the title Coin Coin, in which she explores questions of memory, identity and origin. Thus far three chapters have come out. In 2015 she played at the opening of the new Whitney Museum in New York, and in 2016 she won the Doris Duke Artist Award. In her performance at the Martin Gropius Bau she will be addressing the exhibition honouring the German choreographer Pina Bausch who died in 2009.

Matana Roberts, alto saxophone, clarinet, composition, video
Christina Wheeler, electronics
Nicolaus Neuser, trumpet
Andrea Belfi, drums
Dan Bodan, wordspeak, vocals

An event of Jazzfest Berlin 2016

Tuesday, 1. November, at 20.00
Booking: www.berlinerfestspiele.de

PALERMO PALERMO. A piece by Pina Bausch
Guest performance of the Tanztheater Wuppertal
Haus der Berliner Festspiele

Created for the most part in Palermo and premiered in 1989 at the Wuppertal opera house, Palermo Palermo has since been performed worldwide. Now, for the first time, it comes to Berlin. The Tanztheater Wuppertal returns, for four performances only, to the Festspielhaus, where the ensemble was last seen in 2009.

16–19 December, at 19.30
Further information: www.berlinerfestspiele.de

Pina Bausch and the Tanztheater

Warm-up & Workshops

Exhibition warm-ups
Feeling one's own body, experiencing how small movements come together to form a dance. A programme of thirty-minute warm-ups led by current and former members of the ensemble invite visitors to experience this for themselves.
As a physical introduction to the exhibition, these short sessions offer participants a first glimpse of different forms of movement and choreography. The warm-up can consist of a specially developed work-out or in learning and dancing a small sequence of moves from a piece by Pina Bausch, for example the Reihe from Nelken or Kontakthof
Among the dancers conducting the warm-ups are Dominique Duszynski, Chrystel Guillebeaud, Kenji Takagi, Marigia Maggipinto, Jo Ann Endicott and Paul White.

WARM-UPS: Dates and times

Warm-up with Jo Ann Endicott
Fr., 16.9., 11, 12, 14, 16, 17 H
Sa., 17.9., 11, 12, 14, 16, 17 H
Su., 18.9., 11, 12, 14, 16, 17 H
Mo., 19.9., 12 H
We., 28.12., 11, 12, 14, 16, 17 H
Th., 29.12., 11, 12, 14, 16, 17 H
Fr., 30.12., 11, 12 H
Su., 1.1., 11, 12, 14, 16, 17 H
Mo., 2.1., 11, 12 H

Warm-up with Dominique Duszynski
We., 28.9., 11, 14, 16, 17 H
Th., 29.9., 11, 12, 14, 16, 17 H
Fr., 30.9., 11, 12 H
Sa., 1.10., 11, 12, 14, 16, 17 H
Su., 2.10., 15, 16, 17 H
Mo., 3.10., 12, 14, 16, 17 H

Warm-up with Chrystel Guillebeaud
We., 26.10., 11, 14, 16, 17 H
Th., 27.10., 11, 12, 14, 16, 17 H
Fr., 28.10., 11, 12 H
Sa., 29.10., 11, 12, 14, 16, 17 H
Su., 30.10., 11, 12, 14, 16, 17 H
Mo., 31.10., 12 H

Warm-up with Marigia Maggipinto
We., 21.9., 11, 14, 16, 17 H
Th., 22.9., 11, 12, 14, 16, 17 H
Fr., 23.9., 11, 12, 14, 16, 17 H
Sa., 24.9., 11, 12, 14, 16, 17 H
Su., 25.9., 11, 12, 17 H
Mo., 26.9., 12, 14, 16, 17 H
We., 12.10., 11, 14, 16, 17 H
Th., 13.10., 11, 12, 14, 16, 17 H
Fr., 14.10., 11, 12, 14, 16, 17 H
Sa., 15.10., 11, 12, 14, 16, 17 H
Su., 16.10.11, 12, 14, 16, 17 H
Mo., 17.10., 12, 14, 16, 17 H
We., 19.10., 11, 14, 16, 17 H
Th., 20.10., 11, 12, 14, 16, 17 H
Fr., 21.10., 11, 12 H
Sa., 22.10., 11, 12 H
Su., 23.10., 11, 12, 14, 16, 17 H
Mo., 24.10., 12, 14, 16, 17 H
We., 9.11., 11, 14, 16, 17 H
Th., 10.11.11, 12, 14, 16, 17 H
Fr., 11.11., 11, 12, 14, 16, 17 H
Sa., 12.11., 11, 12, 14, 16, 17 H
Su., 13.11., 11, 12, 14, 16, 17 H
Mo., 14.11., 12, 14, 16, 17 H
We., 16.11., 11, 14, 16, 17 H
Th., 17.11., 11, 12, 14, 16, 17 H
Fr., 18.11., 11, 12, 14, 16, 17 H
Sa., 19.11., 11, 12, 14, 16, 17 H
Su., 20.11., 11, 12, 14, 16, 17 H
Sa., 21.11., 11, 12, 14, 16, 17 H

Warm-up with Pascal Merighi
Th., 24.11., 11, 12 H
Fr., 25.11., 11, 12 H

Warm-up with Cristiana Morganti
Sa., 10.12., 11, 12, 14, 16, 17 H
Su., 11.12., 11, 12, 14, 16, 17 H
Mo., 12.12., 12, 14, 16, 17 H

Warm-up with Paul White
We., 14.12., 11, 14, 16, 17 H
Th., 15.12., 11, 12, 14, 16, 17 H
Fr., 16.12., 11, 12 H
Sa., 17.12., 11, 12 H
Su., 18.12., 11, 12 H
Mo., 19.12., 12 H

Warm-up with Kenji Takagi
We., 4.1., 11, 12, 14, 16, 17 H
Th., 5.1., 11, 12, 14, 16, 17 H
Fr., 6.1., 11, 12 H
Sa., 7.1., 11, 12, 14, 16, 17 H
Su., 8.1., 11, 12, 14, 16, 17 H
Mo., 9.1., 11, 12, 14, 16, 17 H

The number of participants is limited to twenty-five per session. Individuals and groups are advised to book ahead.

Exhibition workshops
The workshops offer visitors to the exhibition an opportunity to dance with current and former members of the Wuppertal Dance Theatre. The ninety-minute sessions are devoted to different aspects of dance - physical exercises, techniques of movement, choreographic forms - and allow participants to try their hand at them and to practice and explore them further.

Workshops: Dates and times [all booked up]

Workshop with Jo Ann Endicott
Mo., 19.9., 15 H
Fr., 30.12., 15 H
Mo., 2.1., 15 H

Duration: 90 minutes
Age group: all ages
Maximum number of participants: 20

Workshop with Chrystel Guillebeaud
Freitag, 28.10., 15 Uhr
Montag, 31.10., 15 Uhr

Duration: 90 minutes
Age group: all ages
Maximum number of participants: 20

Workshop with Pascal Merighi
Samstag, 26.11., 15 Uhr
Sonntag, 27.11., 15 Uhr

Duration: 90 minutes
Age group: youths and young adults

Workshop with Nayoung Kim
Montag, 28.11., 15 Uhr

Duration: 90 minutes
Age group: youths and young adults
Maximum number of participants: 20

Workshop with Paul White
Freitag, 16.12., 15 Uhr
Montag, 19.12., 15 Uhr

Duration: 90 minutes
Age group: all ages
Maximum number of participants: 20

Workshop special
Kontakthof – Dancing with Anne Martin
Freitag, 7.10., 11 Uhr
Samstag, 8.10., 11 Uhr

Duration: 180 minutes
Age group: from 15
Maximum number of participants: 20

For all workshops a registration is necessary.

Pina Bausch and the Tanztheater

Guided Tours in Motion

Contemplation and Movement
Interactive guided tour for families

A joint tour of the exhibition invites participants to study the movements caught in photographs and videos and to explore the reasons behind Pina Bausch’s devotion to dance. Which forms kindle our own interest in movement? How can we transform a collection of frozen figures and movements back into a choreography and a dance?
The offer comprises an age-appropriate and movement-oriented practical part in the Lichtburg. Siblings are welcome to join in!

Saturday, 5.11., at 11.00 and 15.00
Sunday, 6.11., at 16.00
Saturday, 3.12., at 11.00 and 14.00

Duration: 90 minutes
Age group: Children of 5–10 years with their parents
Maximum number of participants: 25
Registration necessary [all dates are booked up]

Exhibiting Movement
Offer for school groups

A joint tour of the exhibition sheds light on the motivation behind Pina Bausch’s work and on how she translated that motivation into movement. Another approach to the objects presented in the exhibition, most of which come from the Pina Bausch Archive, would be to ask how movement can be exhibited. Documents such as photographs, sketches or rehearsal notes capture movement and freeze it. How can that stillness be brought back to life?
The offer comprises an age-appropriate and movement-oriented practical part in the Lichtburg.

Wednesday, 2.11., at 10.30, 12.30, 14.30
Thursday, 3.11., at 10.30, 12.30, 14.30
Friday, 4.11., at 10.30, 12.30, 14.30
Monday, 7.11., at 10.30, 12.30, 14.30
Wednesday, 30.11., at 10.30, 12.30, 14.30
Thursday, 1.12., at 10.30, 12.30, 14.30
Friday, 2.12., at 10.30, 12.30, 14.30
Monday, 5.12., at 10.30, 12.30, 14.30

Duration: 90 minutes
Age group: all types of school, from first grade primary school
Maximum number of participants: 1 class
Registration necessary, see page 36 in the service section.
[all dates are booked up]

Exhibition Warm-up
Offer for school groups

This offer consists of a dance workshop warm-up (30 minutes, conducted by dancers of the Wuppertal ensemble) and a guided tour of the exhibition (45 minutes/class size).

Monday, 19.9., 26.9., 3.10., 17.10., 24.10., 31.10., 14.11., 12.12., 19.12., at 11.00
Wednesday, 21.9., 28.9., 12.10., 19.10., 26.10., 9.11., 16.11., 14.12., at 12.00

Duration: 75 minutes
€45 plus admission
Age group: all types of school, from first grade primary school
Maximum number of participants: 1 class
Registration necessary

Pina Bausch and the Tanztheater

Performances

WAK.NTR Rehab
A matrix of the six soli by Pascal Merighi made for Pina Bausch’s pieces from 2000 to 2005
By and with: Pascal Merighi, Thusnelda Mercy, Volker Wurth

‘The shorthand WAK.NTR Rehab represents the initials of the pieces by Pina Bausch I was involved in creating. From “W” for Wiesenland to “R” for Rough Cut. In WAK.NTR Rehab I try to reorganise a body of movements. I take the first movement of my solo in Wiesenland and add it to the first movements of my solos in Áqua, Kinder and so on, without any other choreographic intent. It is about establishing a new sequence, a new order.’ (Pascal Merighi)

Thursday, 24.11., at 17.00
Friday, 25.11., at 17.00

Duration: c. 45 minutes
Individuals and groups are advised to book ahead.
[all dates are booked up]

de temps en temps sinon jamais
By and with: Clémentine Deluy, Juan Kruz Diaz de Garaio Esnaola

de temps en temps sinon jamais is Clémentine’s letter to Pina. It is her gentle lullaby to a woman who is no longer alive, but who will always be with her. Although memories fade, change and warp, these same intangible, fleeting memories provide succour and comfort. Clémentine Deluy invites Juan Kruz to join her voice. A quiet shared song, not a lament, not an homage, but a whispered avowal by Clémentine to Pina. By Clémentine to Juan.

Saturday, 3.12., at 17.00
Sunday, 4.12., at 17.00

Duration: c. 45 minutes
Individuals and groups are advised to book ahead. 
[all dates are booked up]

Moving with Pina
by Cristiana Morganti, produced by Il Funaro – Pistoia.

Drawing on excerpts of the Tanztheater repertoire, Cristiana Morganti recounts her experience of working with Pina Bausch. How does one build a solo? What is the relationship between emotion and movement? At what point does a gesture become dance? How can a rapport be forged between performers and their audience?

Thursday, 8.12., at 17.00
Friday, 9.12., at 17.00

Duration: c. 70 minutes
Individuals and groups are advised to book ahead.
[all dates are booked up]

Did you say transmission?
by Dominique Duszynski

Dominique Duszynski talks to a young dancer and recent P.A.R.T.p. graduate about Pina Bausch’s work. What is it that makes it so extraordinary? What differentiates it from the work of other choreographers? Why is Pina Bausch’s work still fresh and what is the appeal of her repertoire to dancers? A dialogue between two dancers of different generations in words and movements.

Friday, 30.09., at 17.00
Duration: c. 30 minutes
Individuals and groups are advised to book ahead.
(The event is conducted in English)
[all dates are booked up]

UNTITLED SOLO
by Shantala Shivalingappa

In her new solo Shantala Shivalingappa returns to the body of movements she had learnt from Pina Bausch during her work on O Dido (1999). It was her first piece at the Tanztheater Wuppertal. Rediscovering the material from memory and relearning it also means going beyond the movement as such. What were the emotions behind the gestures? What emotions did the physical movements originally bring out? The revisited material becomes the starting point for something new. Shivalingappa’s performance fuses the remembered choreography with the new movements that complement it, contrast it and perhaps even contradict it.

Friday, 21.10., at 17.00
Saturday, 22.10., at 17.00

Duration: c. 45 min
Individuals and groups are advised to book ahead.
[all dates are booked up]

Dialog
by Nayoung Kim

In her performance Dialogue, Nayoung Kim enters into direct contact with the audience. She dances parts of her solo from Pina Bausch’s piece Der Fensterputzer. After the performance, the audience is invited to ask questions about the scenes they have seen, which Nayoung Kim will answer with new sequences of movements. The interaction between dancer and audience will give rise to a new choreographic texture: a dialogue.

Saturday, 17.12., at 17.00
Sunday, 18.12., at 17.00

Duration: c. 45 minutes
Individuals and groups are advised to book ahead.
[all dates are booked up]

Public rehearsal
Léonard Engel learns from Kenji Takagi
Chaired by Dr. Katja Schneider

How is a movement, a placement, a role transmitted from one dancer to the next? And what gets passed on along with the sequence of movements? What are the stories behind the movements? What is the role of memory in dance?

Kenji Takagi and Léonard Engel, who worked together on the transmission of Für die Kinder von gestern, heute und morgen in Munich, present an open rehearsal that allows visitors to share in the process. The post-performance conversation is chaired by dance lecturer Dr. Katja Schneider.

Friday, 6.1., at 16.00*
Duration: c. 90 minutes
Individuals and groups are advised to book ahead.
[all dates are booked up]

Pina Bausch and the Tanztheater

Talks

Transmission.
On learning Pina Bausch’s piece Für die Kinder von gestern, heute und morgen with dancers from the Bavarian State Ballet

In April 2016 the Bavarian State Opera in Munich premiered Pina Bausch’s piece Für die Kinder von gestern, heute und morgen (first performed in 2002) with dancers of the Bavarian State Ballet. It was the first time that a relatively recent piece by Pina Bausch was learned and performed by another company. What form does this process of appropriation take? What are the challenges of the transmission? What differences are there between learning this piece and pieces by other choreographers? Is this type of work more closely related to reconstruction or to recreation?

Chair: Dr. Katja Schneider, dance lecturer and writer
Panel: Bettina Wagner-Bergelt, Deputy Director of the Bavarian State Ballet, members of the rehearsal team of the Tanztheater Wuppertal et al.

Sunday, 2.10., at 12.00
Duration: c. 90 minutes
Individuals and groups are advised to book ahead.

Palermo Palermo – Dance in times of crisis?
Chair: Dr. Dorion Weickmann, writer and journalist (i.a. tanz, Süddeutsche Zeitung)

In December 1989, shortly after the fall of the Berlin Wall, Pina Bausch premiered the piece Palermo Palermo, which begins with the collapse of a wall. How topical are the social and political references in the work of Pina Bausch? Or, alternatively, is it its very ambiguity, which prevents an unequivocal reading of the pieces in terms of social conditions or political events, that guarantees their abiding freshness and pertinence? How political can dance theatre be? What was/is the relationship between art and politics?

Sunday, 6.11., at 12.00
Duration: c. 90 minutes
Individuals and groups are advised to book ahead.

In the footsteps of Pina Bauschs Spuren. Pina Bausch's creative DNA
Chair: Arnd Wesemann, writer and journalist (tanz)

Pina Bausch’s work, more than almost anybody else’s, stands for innovation and renewal in dance and has influenced not only generations of choreographers but also other stage professionals as well as artists of all stripes. What exactly does this influence consist of? What is the creative DNA of Pina Bausch’s work, and in what way has it left its mark on contemporary art? (Stage) artists of a younger generation and from different cultural backgrounds talk about their perception of Pina Bausch’s work. Has it marked theirs? Are the artistic, economic and organisational conditions under which Pina Bausch created her pieces comparable to those of today?

The matinée discussions are organised in cooperation with the periodical tanz.

Sunday, 4.12., at 12.00
Duration: c. 90 minutes
Individuals and groups are advised to book ahead.

Pina Bausch and the Tanztheater

Films

The Lichtburg returns to its previous incarnation as a cinema. Documentary films made in different decades and from different perspectives look at the work of Pina Bausch and the Tanztheater Wuppertal. Among the directors are Chantal Akerman, Klaus Wildenhahn, Lee Yanor, Wim Wenders and Pina Bausch herself

Admission to the film programme is included in the price of the exhibition tickets. There is no need to book. During the screenings, the Lichtburg seats a maximum of 140 visitors.

Wednesday, 21.12., at 14.00
Das hat nicht aufgehört, mein Tanzen“, Eva-Elisabeth Fischer/Frieder Käsmann, 1994
Speaking to the journalist E.-E. Fischer, Pina Bausch talks about the work of the Wuppertal Dance Theatre and her concept of dance as such. What is dance? What are the artistic ideas that attend Bausch’s work as a choreographer? The film probes the question why dancing is a necessity - and not just for Pina Bausch.
Duration: 42 minutes

Wednesday, 21.12., at 14.00
Die Klage der Kaiserin. A Film by Pina Bausch
, 1990
Pina Bausch’s experimental film was produced in the period between October 1987 and April 1988. The choreographer and her dancers left the theatre to go outside – into the cold, the autumnal forest and the wet fields of the countryside around Wuppertal. Irritating and impressive in equal measure, the film consists of freely collaged and assembled images.
Duration: 106 minutes

Thursday, 22.12., at 14.00
Pina Bausch, Anne Linsel, 2006
The journalist Anne Linsel interviews Pina Bausch and key contemporaries of the famous choreographer. In a series of intimate and probing conversations, Linsel creates a comprehensive picture of the Wuppertal company and of Pina Bausch herself.
Duration: 43 minutes

Thursday, 22.12., at 16.00
AHNEN ahnen, Pina Bausch, 2014 (Re-edit)
In 1986/87, when Pina Bausch and her ensemble developed the piece Ahnen, she allowed the rehearsals to be caught on camera. The resulting film provides a fascinating insight into the gestation of the piece. At the same time, the film represents Bausch’s first translation of her creative practice into another medium and her quest for a cinematic language of her own.
Duration: 78 minutes

Friday, 23.12., at 14.00
Damen und Herren ab 65, Lilo Mangelsdorff, 2002
Lilo Mangelsdorff accompanied 26 lay and amateur dancers aged between 65 and 72 as they rehearsed a revised version of Pina Bausch’s piece Kontakthof (premiered 1978). The resulting film is a moving reflection about challenges, overcoming obstacles, effort, intimacy and closeness.
Duration: 70 minutes

Friday, 23.12., at 16.00
Was tun Pina Bausch und ihre Tänzer in Wuppertal?, Klaus Wildenhahn, 1982
As early as 1982, Klaus Wildenhahn produced a film about the work of Pina Bausch and the Tanztheater Wuppertal. A cinematic document that captures not only the choreographer and her company but also the early 1980s in the Federal Republic of Germany.
Duration: 120 minutes

Sunday, 25.12., at 14.00
Un jour Pina a demandé, Chantal Akerman, 1982
Writing about the Belgian director in the magazine The New Yorker, Richard Brody described the film as ‘a work of modestly daring wonder, of exploration and inspiration [… that shares …] the immediate exhilaration of the moment of creation.’ The film is an unusual document of the work of Pina Bausch and her ensemble.
Duration: 57 minutes, French with English subtitles

Sunday, 25.12., at 16.00
Tanzträume – Jugendliche tanzen Kontakthof, Anne Linsel, 2010
In 2000, Pina Bausch staged her piece Kontakthof (1978) with a cast of non-professional dancers aged 65 and older. Eight years later, she rehearsed the piece with teenagers from Wuppertal. Anne Linsel observed the 40 teenagers from different schools in Wuppertal for almost a year leading up to the premiere.
Duration: 90 minutes

Monday, 26.12., at 14.00
Coffee with Pina, Lee Yanor, 2006
Lee Yanor met Pina Bausch in Paris in 1993. They struck up a friendship. In 2002 and 2005, the director accompanied Pina Bausch in Paris and in Wuppertal. The first film shows excerpts from Pina Bausch’s pieces Água (2001) and Rough Cut (2005).
Duration: 52 minutes

Monday, 26.12., at 15.00
Probe Sacre, Pina Bausch, 1992
The film shows a Pina Bausch during a rehearsal after a change of cast. Pina Bausch is working with the dancer Kyomi Ichida, who is taking on the role of the sacrificial victim in Le Sacre du printemps. The vivid cinematic document provides an insight into Pina Bausch’s creative practice
Duration: 45 minutes

Monday, 26.12., at 16.00
PINA, Wim Wenders, 2011
Wim Wenders’s film takes the viewer on a sensuous, visually stunning journey of discovery onto the stage of the legendary ensemble and, taking the dancers with him, out of the theatre and into the city and surroundings of Wuppertal – the city that was at the heart of Pina Bausch’s creative work for more than 35 years. The film is shown in 2D.
Duration: 103 minutes

Information and registration

Further information and registration for the programme of events
For individuals, school groups and groups in the Lichtburg:
Museum information Berlin
T +49 30 247 49 888
museumsinformation@kulturprojekte-berlin.de

Booking conditions for events in the Lichtburg
· Registration and information: Museum information Berlin, Tel. +49 (0)30 247 49-888, Fax +49 (0)30 247 49-883, museumsinformation@kulturprojekte-berlin.de, at least two working days before the event
· Visitors will receive their ticket at the Martin Gropius Bau ticket counter upon presentation of the booking confirmation and payment of the admission. Ticket counter staff will retain the booking confirmation.
· Tickets for any remaining slots can be purchased at the Martin Gropius Bau ticket counter on the day.

Show bibliography

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland

Museumsmeile Bonn
Friedrich-Ebert-Allee 4
53113 Bonn
T +49 228 9171–200

Opening hours

Mondays closed
Tuesdays and Wednesdays, 10 a.m.–9 p.m.
Thursdays–Sundays, 10 a.m.–7 p.m.
(including public holidays even those which fall on Mondays)