{"id":35903,"date":"2025-10-13T18:16:38","date_gmt":"2025-10-13T16:16:38","guid":{"rendered":"https:\/\/husbands-paris.com\/en\/?p=35903"},"modified":"2025-10-13T18:16:38","modified_gmt":"2025-10-13T16:16:38","slug":"pina-bausch-men-like-any-other","status":"publish","type":"post","link":"https:\/\/wpadmin.husbands-paris.com\/en\/journal\/pina-bausch-men-like-any-other\/","title":{"rendered":"PINA BAUSCH: MEN LIKE ANY OTHER"},"content":{"rendered":"\n
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Without a doubt the greatest European choreographer of the second half of the twentieth century, Pina Bausch showed bodies like no other. Between theater and dance, Bausch invents a new form. Each element becomes a gesture: beating, hair, cloth.  <\/p>\n\n\n\n

If Bausch preferred the ascetic anonymity of the black Yamamoto for herself, she made daring use of clothing on stage. In The Rite of Spring<\/em>, ample black trousers; then, from Caf\u00e9 M\u00fcller<\/em> onwards, wide shirts, drooping shoulders, morning trousers. <\/p>\n\n\n\n

With Kontakthof<\/em> begins a focused reflection on the suit. Often double-breasted and charcoal grey, Bausch turns men\u2019s clothing into a set of gestures: undoing a knit tie, tying one’s shoes, doing the inner button of one’s jacket, tucking in one’s shirt, loosening one’s belt. Tails, heeled loafers, poulaines<\/em>, a boiled-wool admiral’s coat. <\/p>\n\n\n\n

Bausch looks for breaking points: waists, screams, ankles, cries, wrists, flights. Battered waistcoats, rolled-up sleeves. Braces and round lapels, dry bodies and ample signs.  <\/p>\n\n\n\n

Shortly before her death, Pina Bausch chose to stage Kontakthof at a secondary school. Most of the boys had never worn suits. One of them confesses: “My body is too big for me”. Pina Bausch offers this vast fitting room: mending one’s body like a suit, one’s suit like a body. <\/p>\n\n\n\n

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SUITS<\/a><\/div>\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n
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<\/span>\"Adolescents
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Adolescents dance. Kontakthof 2008<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Bamboo
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Bamboo Blues. 2007.<\/p>\n<\/div><\/div>\n\n\n\n

\n
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<\/span>\"Cafe\u0301
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Cafe\u0301 Mu\u0308ller. 1978.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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<\/span>\"Costume
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Costume worn by Dominique Mercy. Kontakthof. 1978.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/span>\"Costume-worn-by-Jan-Minari\u0301k-in-The-Second-Spring_-created-1976\"
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Costume worn by Jan Minari\u0301k. The Second Spring. 1976.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Kontakthof,
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Kontakthof. 1978.<\/p>\n<\/div><\/div>\n\n\n\n

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<\/span>\"Poster
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Poster for Nelken. 1982.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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<\/span>\"Tanzabend-II_-created-1991\"
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Tanzabend-II. 1991.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/span>\"The
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The Rite of Spring. 1975.<\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"Poster
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Poster for Bandoneon. 1980.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n