Wim und Pinchen

I tend to avoid 3D movies because I find them visually tiring, since fast movements are always kind of blurred and the whole experience makes me dizzy. Nevertheless, I decided to see Pina 3D as it’s supposed to be state-of-the-art technology with an actual artistic purpose. And so I went, I was given the bulky active goggles, I cleaned them with the provided smelly disinfectant, and wore them (Logan wanted to bring snorkels too).

Well, Wender’s 3D does have an actual artistic purpose. It’s meant to bring you on stage together with the dancers, so that you can experience and feel the choreography. If you’ve ever performed on stage, you know the difference between the frontal view the public gets, and the perspective of the dancer, particularly in a big theater, backstage wings and rotating space and everything.

Finding yourself inside a choreography by Pina Bausch, together with Dominique Mercy, on the ground of Le Sacre, in the water of Vollmond, among the chairs of Cafe Mueller, is no ordinary experience.

Still the movie was visually tiring, the fast movements were always kind of blurred and the whole experience made me dizzy. Also, the bridge of my nose ached. Wenders’ 3D may be impressive during the choreographies, but I found it pointless for the interviews and a little depressing as a frame for the old footage. Moreover, as much as I appreciated the exclusive focus on Pina’s dance, I also missed a narrative line a little, and I believe this contributed to my sensory difficulties.

In general I got the impression that instead of sitting motionless in the dark, staring, while wearing ridiculous glasses like in some old sf movie, it would be better to study ballet, and then take an interest in Tanztheater, and then go to Wuppertal and audition for a stage, to discover how it feels like to be in the middle of Pina’s vision. Or, less ambitiously, study ballet, take an interest in Tanztheaer and perform at some local school and go to see Pina’s work at the town theater and maybe attend some local workshop. For example, Il Funaro in Pistoia is currently featuring Moving with Pina, by and with Cristiana Morganti, a Tanzerin from Tanztheater Wuppertal, and there’s also a workshop with Kengi Takagi. Or just go the theater and imagine.

This is actually the first time I get this weird “get a life” impression from a movie. I have always regarded highly of sitting motionless in the dark, staring. Maybe it’s because of the goggles. Maybe it’s because I take Pina’s advice very seriously, to dance, dance, sonst sind wir verloren. I don’t know.

Oh, I was happy to meet Wenders again anyway, and the movie gave me a weird urge to visit Wuppertal and travel on the elevated tram.

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