The spectrum of Pina Bausch, almost immaterial, clothed in white, danced in a corner, but filled all the "Cafč Müller" of her childhood, where the dancers-actors staged their isolation, the selfishness that it takes to the couple, to the intended loved, against the wall once and again, without solution, while some keep on making the way between the tables and chairs of the coffee towards nowhere, towards the interior desert of each one.
The dance of Pina Bausch, priestess of the ballet-theater, elderly and anorexic, is the most suitable prolog for the second part of the program: the choreography of "The consecration of the spring" that, since the seventies, is the definite one of the musical work of Stravinsky. After this creation of Pina Bausch, nothing more can be made any more; it is as if Stravinsky had made "The consecration of the spring" for making this ballet wild and primitive. The Neanderthals that filled in Europe were "homo" like us, the downward sapiens of the African mitochondrial Eva, and they danced like this.
It is still a mystery because the Neanderthals, after living together thousands of years with us, they disappeared, exterminated by a plague, for a climatic change or for their competitors. It is sure, however, that they danced like this. And the fact that we recognize them in a night of blood, sweat and sperm in the Liceu it can be it is a consequence of what the paleontologists have not discovered: that the Neanderthals and we lived together and launch to cross. Stravinsky and Bausch, the musician and the choreographer, they knew it of themselves a consecrated spring.
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