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00:01:23,080 --> 00:01:28,380
Bald ist es wieder Frühling. Gras klein.

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Dann kommt der Sommer.

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Hohes Gras.

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Sonne.

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Dann kommt der Herbst.

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Die Blätter fallen.

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Und dann Winter.

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Frühling.

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gonna have winter.

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00:08:07,950 --> 00:08:10,170
Thank you.

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00:09:45,420 --> 00:09:49,940
Of course, I imagine that there are
situations where you can't say anything

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anymore. It's really speechless.

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It's all just making it conceivable.

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Even if I use words, it's not about the
words at all.

15
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It's about making something completely
certain conceivable.

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And I think that's where the dance
starts again.

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Meeting Pina was like finding a
language, finally.

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Before, I didn't know how to talk, and
then she suddenly gave me a way to

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express myself, a vocabulary.

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When I began, I was pretty shy.

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I still am.

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And after many months of rehearsing, she
called me and said, you just have to

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get crazier.

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And that was the only comment in almost
20 years.

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its way in.

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Bitten.

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Heartbeat and drunken incantation.

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Moving.

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00:17:06,780 --> 00:17:08,020
Pina was an artist.

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She asked us.

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She helped us reflect the colors.

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And with these paints she painted the
paintings.

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Like, for example, the question of the
moon.

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I tried to convey my body in such a way
as to bring it to the Moon.

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00:18:10,890 --> 00:18:14,270
Kaffee Müller. I also danced with him.

36
00:18:15,210 --> 00:18:18,110
And it's a piece where the eyes are
always closed.

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Then at some point we did Kaffee Müller
again.

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And I couldn't find my feeling.

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A very certain feeling.

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That was so important to me.

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00:18:29,150 --> 00:18:36,030
And then I suddenly realized that there
is a big difference when I have my eyes

42
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closed, whether I look down.

43
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or if I look at it this way.

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And that was the whole difference.

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So the feeling was totally, all of a
sudden it was right again.

46
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It's unbelievable, isn't it? That this
is so crucial.

47
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You can see how important it is. All the
little things are important.

48
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It's all in the language. You can
actually read everything.

49
00:19:19,630 --> 00:19:24,050
I think we did this piece in two weeks,
Dominique. By the speed we did it.

50
00:19:24,250 --> 00:19:25,250
It was incredible.

51
00:19:25,650 --> 00:19:29,490
It's incredible that we came up with
this idea, this thing. Because there was

52
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chair. There was only the table with the
four chairs. It's Pinal, I remember

53
00:19:34,590 --> 00:19:35,590
that very well.

54
00:19:35,670 --> 00:19:41,310
You know, oh, but it's not the same
stage. We have to put something, I don't

55
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know. It's so empty.

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And then, pof, the chairs.

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00:19:45,710 --> 00:19:48,030
And then, pof, the Rolf.

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00:19:48,270 --> 00:19:53,570
who was there and who changed the effect
and who became the incredible part of

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the piece.

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I'm going to give you the next even
after this. Come on!

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Katsuo Ono is gone too, not long ago.

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Often I see them up there, Pina and him,
dancing together and jumping from one

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cloud to the other.

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Pina had the most piercing eyes in the
world.

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I've never seen anyone who could look at
me like that and see through me.

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Everything I've always tried to play, it
just disappeared under her eyes.

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Instead, she saw something I was afraid
of, because I didn't know it yet.

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Amen.

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00:27:50,709 --> 00:27:55,810
I don't know why I have this image of a
house with a big attic and a lot of

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things in it.

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When Pina was not planned and she did it
because you never remember that she

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showed it, we told her, well... Ah,
that's it, we know that she dances. But

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fact, she did it because you could not
remember things.

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00:31:23,060 --> 00:31:25,780
You always wanted her to be there and
that she would... That she would show me

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the movements? Of course.

76
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Oh, no, you're exaggerating. Yes, it's
true.

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Yes, it's true. No, I insisted that she
dances. I thought it was important that

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she danced. It was the only way to see
Pina.

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I never, ever wanted to dance Cafe
Muller.

80
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When Pina asked me to learn her role, I
said yes.

81
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But I didn't learn it.

82
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I wanted her to always dance.

83
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I saw Pina a lot in Cafe Muller.

84
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And I especially tried to feel what was
going on inside her.

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It was like a hole in her belly when she
walked.

86
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As if it were the kingdom of the dead.

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When I stand here on stage today
Today I try to remember her.

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This pain, at the same time this strength,
and this loneliness.

89
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As for the volte ho danzato Cassian Muller
insieme in Pina?

90
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As long as you turn ho visto i suoi capelli, the
sua schiena, le sue braccia?

91
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Quante volte, ad occhi chiusi, l 'ho
sentita e sapevo che lei sentiva tutti

92
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Anche chiusi, i suoi occhi potevano
vedere tutto.

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I'm working with angels. You are an
angel, you are beautiful.

94
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country, you know.

95
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It was so nice to be an older dancer at
Pina.

96
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Well, the younger years were also nice.

97
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I was 24 when I came to Wuppertal.

98
00:37:59,010 --> 00:38:05,470
But from 40, slowly and more and more, I
just thought, so much space, so many

99
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possibilities. The eyes of Pina are
there to take everything beautiful we do

100
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make something even more beautiful out
of it.

101
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Eine Mission zwischen Alte und Kind zu
sein.

102
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After a terrible test of hygiene, Pina
didn't say a word to me during the

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criticism. Then she came in front of the
presentation in my dressing room and

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said, as always, Lütjen, do it nicely.

105
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And I answered, as always, Bienchen,
have fun.

106
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She went out, turned the door again and
said, and don't forget, I have to be

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afraid of you.

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And it started in my head.

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That was actually much more correct than
if we had talked about it for three

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hours.

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I really like seeing you, little lion
Walking in the sun

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I like you a lot, little lion

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To make you sad, little lion

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My heart is so alone I just need to find it
you on the way

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A lion cub

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I love

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you.

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to see you enter the sea your skin, your
light, your clothes

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Pina was so beautiful to watch when she
was watching us. In the rehearsals, I

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often used to look over to see her
sitting behind that desk and watching us

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every day, living every moment with her
dancers, sometimes like a little child,

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full of all the feelings that we were
having.

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I often thought, Peter sat behind that
table and actually watched me for 22

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years. And that was even longer than my
parents saw me.

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I didn't understand how Pina worked.

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She didn't explain it to me either.

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I was completely helpless.

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At some point I got the feeling that I
was pulling myself up to my hair and

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getting up again.

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You're not the first, you have to
forgive.

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But my last,

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you could be.

133
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What is reality?

134
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What is openness?

135
00:55:16,260 --> 00:55:19,100
What is our responsibility, even when we
dance?

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00:55:19,700 --> 00:55:26,080
Pina encouraged us to stand for what we
do, for every step, every gesture,

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every move.

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Such a fool.

139
00:56:17,390 --> 00:56:20,510
This just won't seem the matter.

140
00:57:16,900 --> 00:57:23,500
The first time I

141
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saw you, I fell in love with

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00:57:30,380 --> 00:57:32,720
you. The first time.

143
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Thank you.

144
00:58:06,800 --> 00:58:10,380
me querida salvadora

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01:01:01,550 --> 01:01:07,390
Well, Bohemoth calls us his own, while
the Hummels wanders alone.

146
01:01:07,990 --> 01:01:14,550
They both go out to play, on that cold
and rainy day. And

147
01:01:14,550 --> 01:01:19,750
Bohemoth sings us his song, while the
Hummels wanders alone.

148
01:01:20,450 --> 01:01:26,370
But in the glory of his friends, you can
hear the Hummels sing.

149
01:01:35,900 --> 01:01:38,760
Too big for place to go.

150
01:04:51,240 --> 01:04:53,860
Thank you.

151
01:07:03,240 --> 01:07:07,700
I remember for the piece Full Moon that
Pina asked us for a move

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01:07:07,700 --> 01:07:09,940
related to joy.

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01:07:10,780 --> 01:07:13,080
Joy or spirit of movement.

154
01:07:13,940 --> 01:07:15,420
It was a nice question.

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01:07:16,000 --> 01:07:22,280
It inspired. I remember that I introduced him
to Pina a movement and with this Pina

156
01:07:22,280 --> 01:07:23,740
created a scene in the piece.

157
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I was

158
01:08:04,540 --> 01:08:11,260
always in the corner,

159
01:08:11,640 --> 01:08:15,800
always behind someone's back when she
criticized us.

160
01:08:16,180 --> 01:08:18,840
Maybe because I just had so much respect
for her.

161
01:08:19,790 --> 01:08:26,590
Once she caught me. Then she asked me
very sadly, Dita, why are you so afraid

162
01:08:26,590 --> 01:08:28,310
me? I didn't do anything.

163
01:08:29,109 --> 01:08:30,609
Actually, she was right.

164
01:08:30,870 --> 01:08:33,149
And gradually I lost my fear.

165
01:09:58,870 --> 01:10:00,270
So,

166
01:10:29,780 --> 01:10:31,180
Oh.

167
01:11:15,120 --> 01:11:16,620
Thank you.

168
01:12:01,440 --> 01:12:06,980
I sometimes said some phrases like, you
have to keep looking, but I didn't say

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01:12:06,980 --> 01:12:07,980
anything else.

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01:12:08,270 --> 01:12:13,810
Y entonces había que seguir buscando,
sin saber muy bien adónde y sin saber si

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01:12:13,810 --> 01:12:15,370
estabas en la dirección justa.

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01:15:05,310 --> 01:15:08,650
LUNA DE MARGARITA

173
01:15:34,660 --> 01:15:36,060
Monterey.

174
01:16:16,250 --> 01:16:18,950
I'm sorry.

175
01:16:20,830 --> 01:16:22,990
I'm sorry.

176
01:16:23,430 --> 01:16:24,430
I'm sorry.

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01:16:47,180 --> 01:16:53,940
You know, as long as you come to visit
me, I've had your news from Daphné, who

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01:16:53,940 --> 01:16:55,160
dreams all the time of you.

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It's not the same.

180
01:16:57,140 --> 01:16:58,760
It would be nice if you manifest
yourself.

181
01:17:48,750 --> 01:17:52,690
Pina went away so fast, so surprised.

182
01:17:54,170 --> 01:18:00,850
I think that in the end, she leaves
everything behind and feels free.

183
01:18:02,730 --> 01:18:09,730
That's why I wanted to offer her this
moment of lightness, of a feeling of

184
01:18:09,730 --> 01:18:10,810
weightlessness.

185
01:22:57,519 --> 01:23:01,720
As a daughter of Dominic and Malu, I was
the first child in the company.

186
01:23:02,900 --> 01:23:04,080
I grew up in the dance theater.

187
01:23:06,960 --> 01:23:08,120
Life without Pina?

188
01:23:08,900 --> 01:23:10,240
I don't even know what that is.

189
01:23:54,350 --> 01:23:59,710
Once, at the beginning of being in
Wuppertal, and I was also very busy with

190
01:23:59,710 --> 01:24:04,390
things, he just said to me, Dance for
love.

191
01:24:34,890 --> 01:24:39,350
All of her pieces were about love and
pain and beauty and sorrow and

192
01:24:40,490 --> 01:24:46,010
When I had this love affair with the
hippopotamus, I was about 28 when I did

193
01:24:46,010 --> 01:24:46,969
that piece.

194
01:24:46,970 --> 01:24:51,090
I even identified her with this big,
sweet hippo monster.

195
01:24:51,690 --> 01:24:57,250
I was trying to understand her, figure
out why she had to keep working and

196
01:24:57,250 --> 01:25:01,590
working and working and working and
always working and working.

197
01:25:12,010 --> 01:25:17,890
In China, the elements were always very
important, whether it was sand, earth,

198
01:25:18,210 --> 01:25:20,330
stones, water.

199
01:25:20,770 --> 01:25:24,190
Somehow there were suddenly icebergs and
rocks on the stage.

200
01:25:24,410 --> 01:25:27,990
When you dance there, there are
resistance.

201
01:25:28,490 --> 01:25:33,750
You have to either go against it,
through it or over it.

202
01:28:02,120 --> 01:28:09,060
The way Pina worked allowed all of us to
be sad, furious, or to cry, or

203
01:28:09,060 --> 01:28:10,320
to laugh, or to scream.

204
01:28:10,780 --> 01:28:12,560
We could bring out all our qualities.

205
01:28:12,880 --> 01:28:18,220
It was as if Pina was hidden in each and
every one of us, or the other way

206
01:28:18,220 --> 01:28:20,600
around, as if we were all a part of her.

207
01:30:22,960 --> 01:30:23,960
you

208
01:32:38,220 --> 01:32:43,620
Two blue eyes of my love.

209
01:32:44,780 --> 01:32:51,380
They have never seen the white world.

210
01:33:06,350 --> 01:33:08,210
Gina was a radical researcher.

211
01:33:08,650 --> 01:33:10,570
She looked deep into our souls.

212
01:33:11,690 --> 01:33:15,170
One topic she kept asking us again and
again.

213
01:33:15,390 --> 01:33:17,230
What do we long for?

214
01:33:17,850 --> 01:33:20,470
Where does our longing for?

215
01:33:58,570 --> 01:33:59,570
oh

216
01:35:07,550 --> 01:35:12,950
© transcript Emily Beynon

217
01:36:19,880 --> 01:36:20,880
It was all...

218
01:37:22,160 --> 01:37:23,360
otherwise we are lost.

219
01:40:07,080 --> 01:40:08,740
this memory again.

220
01:40:46,540 --> 01:40:50,800
And stormed its way in, didn't

221
01:40:50,800 --> 01:41:01,780
Our

222
01:41:01,780 --> 01:41:06,300
feet in sunken

223
01:41:06,300 --> 01:41:08,800
incantation

224
01:42:07,400 --> 01:42:13,760
One and two then three Would never work
out

225
01:42:13,760 --> 01:42:17,720
loud This

226
01:42:17,720 --> 01:42:28,920
hidden

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01:42:28,920 --> 01:42:29,920
temple