Pina Bausch Choreographs Blaubart: A Transgressive or Regressive Act?
Identifieur interne : 001C77 ( Main/Exploration ); précédent : 001C76; suivant : 001C78Pina Bausch Choreographs Blaubart: A Transgressive or Regressive Act?
Auteurs : Meg MumfordSource :
- German Life and Letters [ 0016-8777 ] ; 2004-01.
Abstract
Pina Bausch's Blaubart – Beim Anhören einer Tonbandaufnahme von Béla Bartók's Oper ‘Herzog Blaubarts Burg’ (1977) marked the beginning of the choreographer's trademark challenge to the boundaries between dance and theatre through collaborative improvisation and verbal expression. Given the extent to which the piece is transgressive, it is intriguing that it should be so strongly permeated by a musical setting which has often been described as a regressively misogynist appropriation of Charles Perrault's fairytales (1697). As Mererid Puw Davies has pointed out, Balázs's libretto and Bartók's opera Herzog Blaubarts Burg (1910/11) belong to a bleak canon typified by tragic, non‐utopian endings, a sympathetic portrayal of murderous Bluebeard and the disempowerment of female protagonists. When Bausch's work toured North America in 1984 it received much negative comment because of its unremitting presentation of violent gender relations and its cultural specificity. The following study questions whether the production is regressively bleak, contending instead that the experience of a fatalistic vision is dialogically opposed to a more utopian constructivist critique of learned sado‐masochistic behaviour. It also explores the way Bausch's Märchen articulates the interrelationship between gender and national cultural concerns, both darkly embodying and critically resisting the dynamics of authoritarian civilising structures.
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DOI: 10.1111/j.1468-0483.2004.00269.x
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