with Gloria. the experimental theatre group he founded in I988.
‘In 1982 I saw [980 when Bausch came to Sadler‘s Wells for the first time. What were my
impressions? I remember two things: the awesome degree of skill of the performers. and I remember weeping. as opposed to crying.
‘I‘ve also seen Cafe Muller and Two Cigarettes in the Dark. With Cafe Muller I didn’t cry til afterwards. But with Two Cigarettes in the Dark I also broke down during the performance. It‘s a salutory reminder that it is possible to create that experience for the ticket-buying public.
‘When I first saw her [Bausch’s] work 1 was working with a group of people. collectively devising theatre pieces. We were groping our way towards the idea that one of the things that makes a good night out is when the audience sees very vividly each person on stage as an individual — bringing their ‘baggage’ on stage
and unpacking it in front of you. That sense of the personality. and the history of the person is there in every gesture they make. That’s what is so intriguing and so moving about great performers.
‘When we saw [980 there was an incredible sense of excitement that you can actually do this. You can have a piece of bewilderineg technical entertainment — a Pina Bausch piece is technically the most precise and demanding sort of stage one can imagine — but at the same time I could still describe most of the company members in 1980. I only saw it once. and it was thirteen years ago. but I remember all of those people very clearly . . . Now that’s not true of many of the pieces of theatre . . . or any of the nights out in any genre that you have.
‘She‘s a working artist and her work is run through and through with the determination to keep working. so there isn‘t any sense of “who is this mysterious woman behind Pina Bausch’s work?" Her name is on it and she’s right there on the stage. Of course she doesn’t give interviews. She doesn’t need to. What do people want? She paints the stage with her sweat — you don’t need to know anything else about her.
‘She’s a great. great dancer. as well as being a great maker of theatre. The experience of watching those works has made a great difference to me as a person. I think that‘s a more proper thing to say than: “Oh yes my work has been inﬂuenced by Pina Bausch.”’
Eva Magyar: dancer-choreographer
lmpassioned Budapest dancer-choreographer Eva Magyar and her two-person company The Shamans are having their second Fringe success story with a new production. Amine. She explains how she owes it all — or at least some of it — to Pina Bausch.
‘lt was in Avignon in 1982. l hadjust finished school and I didn’t know what to do. I did classical ballet and was interested in theatre. but hadn’t decided to do it. When I saw Pina Bausch‘s performance in Avignon I realised there are different ways to show our feelings on the stage. I wasn’t crazy for the theatre. not crazy for the ballet, then I saw there’s another way which is just for me. from my heart. That was the moment I decided to be an actress.
PINA BAUSCH FEATURE
‘This was the first time they let me go west from Hungary. so it was by chance that I got there. I didn‘t know anything about the Pina Bausch company. I just got there and I saw people with papers on their clothes that said: “I’m looking for a ticket for the Pina Bausch
‘Pina Bausch paints the stage with her sweat - you don’t need to know anything else about her.’
performance‘. I didn’t know what that was but I heard somebody say on the street: “I have one more ticket for Pina Bausch‘ and I said: “Yes it‘s for me! I want to see it. whatever it is ! want to see it."
‘When I went back to Hungary I tried to get into theatre school. and finished it and was working as an actor. We have this kind ofdance- theatre in Hungary and l was working for five years. but it was always in my head: “I want to do something like that [Pina Bauschl”. so a year ago I decided to start my own company. The Shamans . . . For me. Nelken‘ was something wonderful. It really opened my mind.’
" ’ / I” 7/ e h/ / /
N 1/“ /
'.~ J .., " ' 334». ski: "" " . ' Ne/ken by Pina Bauseh is at The Edinburgh Playhouse from Thurs 3/ Aug—Sat 2 Sept, 7.30pm, £5—f20.
The List 25 Aug-7 Sept 1995 9