I think Pina Bausch said something a long the lines of
I’m not interested in how people move, I’m interested in what moves people.
I was lucky enough to see Cafe Müller / Rite of Spring and Pierre Rigal’s Press, at the Gate, on consecutive nights last week.
The Bausch was incredible and did not seem 30 years old at all. Watching the performances so close together, I could almost draw a wiggly line to come from Bausch to Rigal probably via Wim Vandekeybus.
What I liked and I link between both the Bausch and the Rigal is that the story seems to be on the edge of your mind. You can’t complete the narrative in any straightforward way, some of the dance and physicality and atmosphere has to complete it for you. And so, the pieces become both highly personal as the work only makes sense in your head and will be pretty different in another’s I suspect but somehow quite deep and universal as everyone grasps the themes: alienation, love, patterns of history, stress, confinement, battling machines, life in you head — that apply to the Rigal and Bausch in no particular order.
“I’ve been building up an imaginary shrine in my home dedicated to the cult of Lorrie Moore and I almost wept when I read the line from “How to Be An Other Woman” that goes… “he laughs, smooth, beautiful, and tenor, making you feel warm inside of your bones. And it hits you; maybe it all boils down to this: people will do anything, anything, for a really nice laugh….” I truly believe that. Don’t you think most people–smart, thinking people–would do just about anything for someone with a nice laugh?“